In DEEP Reggae and Funk Columns

CONTENTS
IN DEEP: BOB MARLEY

FIG. 1: BASIC REGGAE RHYTHM
FIG. 2: COMBINING DIFFERENT CHORD VOICINGS WITH DEAD-STRING ACCENTS
FIG. 3: BASIC REGGAE CHORD PROGRESSION
FIG. 4: USING ECHO TO CREATE A DUB EFFECT
FIGS. 5 & 6: ONE LOVE-STYLE RHYTHMS
FIGS. 7A & B: WAITING IN VAIN-STYLE RHYTHMS
FIG. 8: SOLOING LA WAITING IN VAIN
FIG. 9: I SHOT THE SHERIFF-STYLE RHYTHM
FIG. 10: NO WOMAN, NO CRY-STYLE RHYTHM
FIG. 11: SOLOING LA NO WOMAN, NO CRY
IN DEEP: FUNK
FIG. 1: BASIC FUNK-STYLE RHYTHM
FIG. 2: SYNCOPATED CHORDAL ACCENTS ONLY
FIG. 3: DEAD-STRING ACCENTS ONLY
FIG. 4: SYNCOPATED DEAD-STRING ACCENTS
FIG. 5: 9th-CHORD SYNCOPATED RHYTHMS
FIG. 6: ADDING BASS RIFFS TO RHYTHM PARTS
FIG. 7: 13th-CHORD SYNCOPATED RHYTHMS WITH RIFFS
FIG. 8: MINOR-CHORD SYNCOPATED RHYTHMS WITH RIFFS
FIG. 9: DOUBLING THE BASS LINE
FIG. 10: ADDING A COUNTER BASS LINE
FIG. 11: SLIDING MIXOLYDIAN SIXTHS
108 guitar world
RASTA VIBRATION
Reggae guitar and the music of Bob Marley
*

IN DEEP columns
FIGURE 1 e = 148 (q = 74)

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FIGURE 2 e = 148 (q = 74)
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FIGURE 3 e = 148 (q = 74)

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FIGURE 4 e = 148 (q = 74)
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w/phaser
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FIGURE 5 e = 148 (q = 74)

B
(repeat prev.
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FIGURE 6 e = 148 (q = 74)

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FIGURE 7a e = 152 (q = 76)

Amaj7
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FIGURE 7b e = 152 (q = 76)

Amaj7
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BY ANDY ALEDORT
W
hen BoB Marley
brought the Jamaican sounds
of reggae to the u.S. in the
early Seventies, he created a musical
revolution. His first two island records
releases, Catch a Fire and Burnin (both
issued in 1973), included the hits Stir it
up, get up, Stand up and the mega-
smash i Shot the Sheriff, which when
covered in 1974 by Eric Clapton helped
catapult Marley to international acclaim.
Following 1974s Natty Dread (including
No woman, No Cry), 1976s Rastaman
Vibration and 1977s Exodus (featuring
one love), Marley was firmly estab-
lished as one of the biggest pop stars in
the world. this edition of In Deep exam-
ines the basics of the reggae guitar style
as well as specific techniques used on
some of Marleys most beloved songs.
Stylistically similar to funk, reggae
is built from distinct musical puzzle
pieces provided by multiple guitars,
bass, keyboards, drums, percussion and
vocals. these elements are precisely fit
together in the musical arrangements.
in terms of the guitar work, one guitar
often plays a scratchy rhythm part
like a percussion instrument, such as a
washboard, snare drum or maracas
while another guitar provides a low,
single-note melodic line that is sim-
ilar to but differs from the bass line.
in sharp contrast to many styles of
music, in reggae the bass often provides
melodic content while the guitars lay a
solid rhythmic grid underneath.
lets start with a very basic reggae-
style rhythm part (see FIGURE 1). Here,
the percussive role of the instrument is
made prominent by the accentuation
of muted dead-string accents, inter-
spersed with a Bm chord voiced on the
top four strings. the strumming pat-
tern is steady 16th notescount oNE-
ee-and-a, two-ee-and-a, etc.and the
chord accents are placed on the eighth-
note upbeat of each beat. also, i release
fret-hand finger pressure between the
chord accents to make them sound as
staccato (short and crisp) as possible.
a great way to make a static rhythm
part like this more interesting and
musical is to move to different voicings
O
n

D
i
s
c
110 guitar world
*

IN DEEP columns
_
_
FIGURE 8 e = 152 (q = 76)
Amaj7
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8 8
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8

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Dmaj7
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11 9
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....
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Amaj7
8 910
11 11 9 8 9 8
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3 3
Dmaj7
1
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10
.......
10
9
,
Amaj7
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,
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1
..
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1
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Dmaj7
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.....
13 13
, ,
15
,
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Amaj7
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Dmaj7
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16 16 16 13
,
1
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13 16
15
Amaj7
15 13
15 13
.
.....
3 3 3 3 3 3 3 3 3 3
_
_
FIGURE 9 q = 88 Triplet feel (jjjq = iiiq)
K K
w/wah
Gm
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1., 2., 3.
(repeat prev. bar)
Emaj7
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Dm
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,
5 3 1 3 5
1
,
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,
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.......
_
_
FIGURE 10 q = 82
let ring
C
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G/B Am
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0 0
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Th
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_
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FIGURE 11 q = 82
C
w/phaser
....
12 10
10

G/B
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Am
15 15 13
.........
13 13
F
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1
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.........
13 15
,
,
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8 10
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( )
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1210
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1
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Am
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7 7
....
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5 5
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7 5
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3

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1/2
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7 7 7 5
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10 10 8
......
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7 5
7 5
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5 7 5
....
5
7
.
of the same chord (in this case, Bm)
while maintaining the steady rhythm.
as shown in FIGURE 2, i move up from
seventh to 10th to 14th and 19th posi-
tions, and then back down. Notice that
a subtle melody is alluded to as the
highest note in each voicing moves up
and down the fretboard.
Now lets apply this approach to a
standard reggae-style chord progression,
as demonstrated in FIGURE 3. in this
example, one bar of the i (one) chord,
Bm, is followed by two beats of the fVii
(flatted seventh) chord, a, and two beats
of the minor iv (four) chord, Em. this
part is made most effective by alternat-
ing between a light touch on the muted
string strums and a sharp, harder attack
on the chord accents.
at the end of FIGURE 3, i play eighth-
note triplets in a staccato fashion to
emulate the sound of an echo effect, one
of the common signal enhancements
used in reggae guitar. also used often
are wah pedals and phase shifters. in
FIGURE 4, i use an analog delay pedal
(an MXr Carbon Copy) to provide the
eighth-note triplet effect, along with an
MXr Phase 90, which changes the sonic
texture as the part progresses.
Marleys classic hit, one love, fea-
tures rhythm guitar parts during the
chorus and verse sections that are sim-
ilar in execution to the previous exam-
ples. FIGURE 5 illustrates a similar part
played within a chord progression built
from the i, iV and V chords in the key of
Bf: Bf, Ef and F. FIGURE 6 adds the rela-
tive minor chord, gm, to the mix.
another great example of this strum-
ming technique is Marleys waiting
in Vain, which consistently alternates
between the i chord in af, afmaj7, and
the iV chord, dfmaj7. FIGURE 7a offers
a part along these lines.
waiting in Vain features a melodic
guitar solo, as do other Marley hits,
such as one love and Stir it up.
FIGURE 8 illustrates a solo along the
lines of that heard in waiting in Vain,
based primarily on af major pentatonic
(af Bf C Ef F). i Shot the Sheriff is
built from similar rhythm techniques,
but with more complex syncopations,
akin to FIGURE 9.
FIGURE 10 offers chord arpeggiations
like those heard on No woman, No
Cry, and FIGURE 11 depicts an accom-
panying solo based on C major penta-
tonic (C d E g a).
O
n

D
i
s
c
_
_
FIGURE 1 (q = 108)
F9
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8
(repeat prev. bar)

7
8
8
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8
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_
_
FIGURE 2 w/o dead string accents

F9
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,
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,
,
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,
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,

_
_
FIGURE 3 dead string accents only (16th notes)
*(repeat prev. beat)

*
X
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X

_
_
FIGURE 4 play w/rhythm of dead-string accents

X
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_
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FIGURE 5 play 9th chord on accents only

F9
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, ,
8
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,
,
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,

_
_

FIGURE 6 add bass-like lick in the gaps

F9
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,
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6 0 8
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6
....
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,
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6 0 8
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,
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13
X 6
....
_
_
FIGURE 7 w/13th chord and riffs

F13 F9
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F13 F9
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10 8
,
F13 F9
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X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
C
O
L
U
M
N
S
INDEEP
byAndyAledort
Andy AledortisaGWassociateeditor.Hissoloblues-rockalbum
Live at North Star 2009isavailableonSteveVaisDigitalNationslabel.
See this lesson now
at GuitarWorld.com

*
optimized for iPhone,
iPad and Android!
FIg. 1
MAKe It
FUnKy
A primer on funk-style
rhythm guitar
Funk is one of the most powerful, endur-
ing and versatile styles of music, epitomized
by accentuated driving rhythms, interlocking
syncopations and a pronounced emphasis on
the beat. Since its inception in the mid Sixties,
funk musicpopularized by the incredible
James Brown, also known as The Godfather of
Soulhas cross-pollinated into virtually every
other style of modern music, in particular rock
and jazz. In this edition of In Deep, well ex-
amine some of the basic tenets of funk rhythm
guitar: essential pick- and fret-hand techniques,
how to lock into a bass-and-drums groove and
how to build layers of syncopated guitar parts
to create a dense stew of pure funkitude.
In funk, every instrument is there to sup-
port the almighty beat and serve a specific
function as an essential element in the big
musical picture. In this way, the guitar parts
are generally as much an element of percus-
sion as the drums and percussion instruments
themselves. The beauty of the guitar is that
the player has the option to move seamlessly
from one primary purpose to anotherfrom
rhythm to leadas all of the greatest funk
guitar players have always done.
Lets begin with a basic, standard funk-
style rhythm guitar part, shown in FIgURE
1. This rhythm part is based on an F9 chord
shape, played on the top four strings against
a static (unchanging) one-bar bass pattern in
F. The inherent syncopation is built around
16th-note rhythms, placing the emphasis on
different parts of each beat in the measure.
For example, right on the downbeat of beat
one, I slide into an F9 chord voicing from E9,
one fret below, and allow the chord to ring
for an eighth note, striking it again on the last
16th note of beat one. Beat two begins with a
16th-note rest, followed by a muted, or dead-
string, accent, a chord accent and another
dead-string accent, all in straight 16th notes.
Beat three begins with two 16th-note dead-
string accents followed by an eighth-note
chord accent, and the bar ends with straight
16th-note strumming of two chords followed
by two dead-string accents.
Sounds complicated, right? It seems to be
when you dissect every little element. But
once you put the pieces together, it will feel
natural, swinging and definitely funky.
To understand the underpinnings of this
112 gui tar worl d oCtoBEr 201 1
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
FIg. 2
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
FIg. 3
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
FIg. 4
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
FIg. 5
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
FIg. 6
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
FIg. 7
_
_
FIGURE 1 (q = 108)
F9
6
7
7
7
7
8
8
8
7
8
8
8
X
X
X
7
8
8
8
X
X
X
X
X
X
X
X
X
7
8
8
8
(repeat prev. bar)

7
8
8
8
7
8
8
8
X
X
X
X
X
X
_
_

F9
6
7
7
7
7
8
8
8
7
8
8
8
,
7
8
8
8
,
,
7
8
8
8
,
9
8
8
8
9
8
8
8
,

_
_

*
X
X
X
X
X
X
X
X
X
X
X
X

_
_

X
X
X
X
X
X
X
X
X

X
X
X X
X
X
X
X
X
X
X
X
X
X
X
X
X
X

X
X
X
X
X
X
X
X
X
_
_

F9
8
8
8
8
8
8
, ,
8
8
8
8
8
8
8
8
8
,
,
8
8
8
8
8
8
,

_
_


F9
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6
....
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
X
X
X
6 0 8
8
8
8
8
8
8
,
X
X
X
8
8
8
8
8
8
13
X 6
....
_
_

F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
8
1/4
10 8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
X
X
X
X
X
X
8
8
8
X
X
X
8
8
8
,
F13 F9
7
7
9
8
8
10
8
8
10
8
8
8
X
X
X
X
X
X
1/4
X
X
X
X
X
X
9
1/4
11 9
,
114 gui tar worl d oCtoBEr 201 1
IN DEEP by Andy Aledort
FIg. 8
See this lesson now
at GuitarWorld.com

*
optimized for iPhone,
iPad and Android!
funky rhythm, sound only the chord accents,
as demonstrated in FIgURE 2. As youll see
and hear, on beats one and four the accent is
placed squarely on the downbeat, and on beats
two and three it is placed on the eighth-note
upbeat. It is this push-pull against the 4/4 time
that creates a funky, in-the-pocket groove.
Keeping a solid, unwavering beat with the
pick hand (in this case, in a steady rhythm
of 16th notes) is crucial to developing funk
rhythm guitar technique. In FIgURE 3, I use
dead-string accents onlyimagine your guitar
as a washboard, as heard in Cajun styles of
musicand move the strumming accents back
and forth from the high to the low strings in
order to create different and subtle textures.
In FIgURE 4, I switch to a rhythmically syn-
copated strumming pattern while still using
dead-string hits only. In FIgURE 5, I take the
strongest rhythmic accents and sound them
with the F9 chord voicing, leaving the dead
strings out altogether.
Keep your picking hand loose and focus
on controlling exactly where you place your
strumming accents and the strength with
which you play them. Jimi Hendrix, a dedi-
cated student of funk and R&B guitar, was a
master of this technique, as featured in songs
such as Voodoo Child (Slight Return) and
Are You Experienced?
Now lets build on this basic premise by
adding a bass-like riff to the mix, as shown
in FIgURE 6. Here, I use the same rhythmic
syncopations employed in the previous ex-
amples across beats one and two but insert a
few different succinct low-note melodic lines
across beats three and four in order to keep
the line interesting and grooving.
Another widely used approach is to switch
the opening chord to F13 while adding a high-
er melodic line in every other bar, as shown in
FIgURE 7. A great example of this approach
can be heard on Jeff Becks classic You Know
What I Mean, from his album, Blow by Blow.
A great twist is to switch to minor chords
for the basic harmonic backdrop, as demon-
strated in FIgURE 8. Here, strummed two-
note shapes on the top two strings work in con-
junction with subtle single-note melodic lines
in every other bar. Youll find this approach
on the James Brown classics Soul Power,
Mother Popcorn and The Payback.
Another favorite device in the funk guitar
toolbox is the use of low-register lines that
either double the bass line or add low-note
countermelodies and syncopations, inter-
spersed with higher chord voicings. FIgURES
9 and 10 offer examples of both, respectively.
Lets wrap up with a sliding lick based on
Mixolydian sixths, as shown in FIgURE 11.
Over our groove in F, I begin with a catchy
melodic line on the first and third strings, and
then answer that line in bar 2 with a differ-
ent figure on the fourth and second strings.
Legendary soul/R&B guitarist Steve Cropper
and the late Cornell Dupree created lines like
these for classic songs such as Soul Man and
Memphis Soul Stew.
If you dig funk, this is just the tip of the
iceberg. Essential listening includes James
Brown, Booker T. & the MGs, King Curtis, the
Isley Brothers, Ike Turner, the Meters, Stuff,
the Funk Brothers, Parliament, Funkadelic,
Tower of Power, Living Colour, the Red Hot
Chili Peppers and many others.
FIGURE 8 w/minor chord on top

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.
FIGURE 9 working off bass line

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4
FIGURE 10 counter bass line w/lick

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6
FIGURE 11 a la Steve Cropper/Memphis Soul Stew

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10
FIg. 9

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10
FIg. 10

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10
FIg. 11

N.C.(Fm6-7)
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8
1/4
8

10

8 10
9
8
9
8
X
X
9
10
9
10
X
X
9
11
9
11
9
10
X
X
X
X
X
X
X
X
X
9
11
9
11
9
10
9
10
9
8

10
8

8 8 6
8 6
1., 2., 3.
4.

N.C.(F9)
1
0 3
0 0 1 2 3
1 1
0 3
0 0 1 2 3
1 1
0 3
3 5
4

N.C.(F9)
8
6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6 0 8 10
8
8
6 6
8 8
1/4
6 8
6 6 6
8 8
6
6
8
1/4
6
8

6 6
8 6
8 6

F9
15 17
17
15
15
14
13
12
11 11 13
13 15
15
13
13
12
11
10
10
8 8
8
10
10

In DEEP Reggae and Funk Columns

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In DEEP Reggae and Funk Columns

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CONTENTS

IN DEEP: BOB MARLEY

FIGURE 1 e = 148 (q = 74)

FIGURE 2 e = 148 (q = 74)

FIGURE 3 e = 148 (q = 74)

FIGURE 5 e = 148 (q = 74)

FIGURE 6 e = 148 (q = 74)

FIGURE 7a e = 152 (q = 76)

FIGURE 7b e = 152 (q = 76)

(repeat prev. bar)

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents

FIGURE 5 play 9th chord on accents only

FIGURE 6 add bass-like lick in the gaps

FIGURE 7 w/13th chord and riffs

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents

FIGURE 5 play 9th chord on accents only

FIGURE 6 add bass-like lick in the gaps

FIGURE 7 w/13th chord and riffs

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents

FIGURE 5 play 9th chord on accents only

FIGURE 6 add bass-like lick in the gaps

FIGURE 7 w/13th chord and riffs

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents

FIGURE 5 play 9th chord on accents only

FIGURE 6 add bass-like lick in the gaps

FIGURE 7 w/13th chord and riffs

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents

FIGURE 5 play 9th chord on accents only

FIGURE 6 add bass-like lick in the gaps

FIGURE 7 w/13th chord and riffs

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents

FIGURE 5 play 9th chord on accents only

FIGURE 6 add bass-like lick in the gaps

FIGURE 7 w/13th chord and riffs

(repeat prev. bar)

FIGURE 2 w/o dead string accents

FIGURE 3 dead string accents only (16th notes)

*(repeat prev. beat)

FIGURE 4 play w/rhythm of dead-string accents