Vous êtes sur la page 1sur 72

BEST OF

%7i by Troy Stetina

dfira,.t LEo*RRo'
CONTENTS
Pag6 COtrack #

Introduction
5 TheSongs
5 The Recording
Standard Tuning 1
6 'This ls a Call"
12 "l'llStickAround' 8-13
17 "BigMe' 14-15
DropD Tuning 16
20 Alons + EasyTargefl 17-20
24 "Monkey Wrench" 21-26
32 "Hey,JohnnyPark!"
Standard Tunjng
41 'My Hero' 34-39
47 'Everlong' 40-4i)
DropA Tuning 44
51 'StackedActors" 45-48
StandardTuning 49
"Breakouf 50.53
64 "Learnto Fl/ 54-55
DropD Tuning
"LiveinSkin" 57-60
INTRODUCTION
BornJanuary14, 1969,Davecroht-the lounderand leaderol the FooFighters-
began playingguitarand drums as welt as writingmusic by his early teens.In the late
1980s,after performingwith a varietyof hardcorepunk bands,he ioined as drummerof
the eslablishedWashington,D-C.hardcoreband, Scream.Followingtheir j99O summer
tour, Daveleft Screamlo join Nirvanaand moveto Seatie-a movethat would catapult
him into the spotlight.
Still,betweenrecordingsessionsand lours with Nirvana,Grohlcontinuedto write
and recordhis own originalmusicas wellas takeon variousside Oroiectswilh olher musi-
cians. Upon the completion ol Nevermind,he temporarilyreturned to his former
Washington,D.C- haunts to pedorm on severaltracks for Simple Machines,cassene
release,Pocketwatch. And jn 1992,while on hiatusfrom the gruelingNirvanalour, he
recordedsolo materialwith BarrettJones,a friendwith whom he had previouslvworKeo
back in the days betoreioining Nirvana.The two continuedrecordrnglogetherin 1993,
untilthe /n Uterorecordingol Nirvanagot undeMay.Daveevenreportedtyloyedwith the
idea of releasingan independentcasseftein lhe summerof 1993,but the plans never
reachedlruition.
Then came the shockingnews of Kurt Cobain'ssuicidein 1994,at the peak of
Nirvana'ssuccess.After severalmonths,Davepickedup again and bookedstudiotime.
Workingwith Jones at his side, he siftedthroughhis backlogof songs and narrowedit
down to fifleen hard-hittingkacks. In one week, and playinga the instrumentshimsell,
Daverecordedthe materialthat wouldeventualtybecomethe Foo FightersdebutCD. He
made100 copiesand beganpassingthem out to hiendsand associates.Almostimmeot-
ately,the solo projectbecamethe obieciof a fiercerecordlabelbiddingwar.
Ratherthan embarkon a kue solo career,Dave chose insteadto form a band.
FriendNate Mendel,bassistof the band SunnyDay Real Estate,becameavailableupon
that group'sbreakup, as did the drummer,WilliamGoldsmith.To completethe group,for-
mer Germsand NirvanaguitaristPatSmearwas added.Theband,snamewas lakenkom
a covertWorldWar ll militaryorganization,allegedlyformedto reseachUFOS,and the
Foo Fighterssignedwith CapitolRecords.
The band'sselltitled debutCD was releasedon July4, 1995and achievedInsranl
successin the UnitedStates,thanksto heavyalternativerock airplayof ,This ls a Calll,lt
was certifiedplatinumby early 1996.Laterthat sameyear,recordingbeganfor the follow-
up album,The Coloutand the Shape,whichhit the storesin May 1997.Duringrecording,
currentdrummerTaylorHawkinscame onboardas the lirst in a seriesof lineupchanges
in the band.GuitaristPat Smear lett the group atter completionof the album,and was
replacedby FranzStahl,one of Dave'sformercohortsfrom Scream.But Stahl'ssterywas
shorlfived,and the thitd album,Thercls NothingLeft to Lose,was recordedas a three-
pieceensemble.Shortlythereafter,guitaristChrisShiflensignedon. But regardlessof the
many changesin line-up,the Foo Fighters'stylecontinuesto evolveand developjncre-
mentally,led by the musicalvisionol their leader,DaveGrohl.
Like Nirvana,the Foosblendtoud,distortedguitarsand punkangstwith pleasing,
hook-laidenpop melodies.Alwaysmastersof the unexpected!complexityarrivesin the
formof sophisticated compositional thinking.Interdependent partsbuilddynamically,
often
sharingmotifsand spinningoff variations,combiningand recombiningelemenlsas song
archilectureis relinedand perfected.But all this well-craftedsongwritingremainssub e
and largelyhidden,as it silentlysupportseach song'sattitudeand delivery.
THE SONGS
The songson the accompanyingaudioCD includethe lollowingl
"Thisis a Call" ltom Foo Fightets
"l'llStickAround" lrclr, Foo Fighterc
"BigMe" ltom Foo Fighters
"Alone+ EasyTarget" fror., Foo Fighters
"MonkeyWrench" fuom The Colour and the Shape
"Hey,JohnnyPark!" ltom The Colour and the Shape
"My Hero" ftofl]. The Colour and the Shape
"Everlong" lrcm The Colou and the Shape
"StackedActors" lrcm There is Nothing Left to Lose
"Breakoul" frcm There is Nothing Left to Lose
"Learnlo FIY' lrom Therc is Nothing Left to Lose
"Live-lnSkin" ftom Therc is Nothing Left to Lose

THE RECORDING
Theaccompanying audioCD containsfull-bandexamples as wellas slowguitar
demonstrationsol eachfigurepresented- Thefull-bandversionsare mixedwiththe fea-
turedguilarpannedhardrightandothersupporting instruments pannedhardleft.Thus,
by usingyourstereo'sbalance control, youmay listento the entireband(center),isolate
justtheleaturedguiiarpad (right),or isolatejuslthe backingtracks(left).Or youmaysel
the balanceconkolto anypointin betweento getexactlythe mixyouwantto hear.

Producedat A.tist Undergroundrecordingstudio,New Berlin,Wisconsin

Guilars: TroyStelina
Bass: ChrisKringel
Drums: ScottSchroedl
THIS IS A CALL
Wo.ds and Music by David Grohl

Figu.e 1 - Verse,Chorus
'This ls a
Call" was the first single as well as the openingtrack from the Foo
Fighters'debutselttitled CD, releasedon July 4, 1995.Garneringheavyalternativeand
albumrock radioairplay,the song was an instantsuccess,and helpedpropelthe atbum
10plalinumstatus(onemillionsold)in the U.S.by early1996.
For lhis song, you will need to be able to switchbetweena clean sound and full
distortioninstanlly.There are severalwaysto accomplishthis.One is to use an amp lhat
has channel-switching capabilily.Set up channelA tor a cleantone by turningthe pre-amp
volume(or "gain")downlow and turningthe channelmastervolumeup.Then set up chan-
nel B for a distortedtone by turningits pre-ampvolumeup high and adjustingits channel
master volume so lhat the dislortedsound is somewhatlouder than your clean tone.
Swilchbetweentones usingyour amp'sfootswitch.Anothermethodis to use a distortion
pedalin lieu of separateamp channels.In this case,hit "bypass"on the pedaland set up
your amp lor a clean tone (keeplhe pre-ampvolumelow).Then adjustthe pedal distor-
tion settingto a high level.Finally,adjustthe levelcontrolon the pedalto a settingthal
allowsthe distortedtoneto be appropriatein volumerelativeto the cleantone,as you turn
the pedalon and otf for distortedand cleantones,respeclively. lf you don't havea distor-
tion pedalor a channel-switching amp,set up the amp for a distortedtone and simplyroll
your guilar'svolumeknob down low to "cleanup" the soundfor the clean sections.This
won t give you a very good cleansound,but it'll sufficeuntilyou get some gear.
The band'sunpolishedpunk/popdemeanoris sel forth in the first six secondsot
the debutalbumwith the electricguitar's"pluggingin" sounds.lt doesn'tget much more
rawthanthatlThe musicthen opensrightintothe verse,withjust a clean,skummingelec-
tric guitaraccompanying the leadvocal.Althoughthe notationshowsexactlywhichstrings
are hit in the strumat each given moment,don'l worry loo much.Just look at the slrums
as generalguidelineslor hittingthe lowerstringsor the upperslringsor the middlestrings,
and go fo. the right basic area, holdingeach chord lhroughout.The pickingpatternis
down, down/up,up/down/up,up/down/up,up/down/up.The downstrokesall go tor the
loweFsounding stringswhilethe upstrokescatchthe higher-sounding strings.The excep-
tion happensat the end of measure2, wheretwo "middlearea"strumsoccur.
The eight-measurechord progressionis essentiallyE-G-E, with an added A
chordmoveai the end of the G part.Alsoa quickG/A chordat the end of measure6 aris-
es due to hittingthe open slrings as a transitionback to E. Using open skings as an
eighth-notetransitionis a commonstrummingtechniquewhich helps to connectchords
morefluently.
At the end of measureI the full band enters,echoinga varialionof the previous
G to A chord move.Ivleasures9-16 are essentiallythe same as the first eighl measures,
and functionas the secondhalf of the verse.
An unusualphrasingapproachoccurs in the chorus.Whereasphrasesnormally
appearanevennumbersof measures(usuallytwo, four,or eight measures),herewe see
a lhree-measureprogression,F[s-A-E, followedby a lengthenedversion,Ff5-A-E-E.
This gives it a less predictablequality.The melodyguitar(Gtr.4) enterswith a recurring
motil,featuringa chromaticdescendingline (Ai-A-G$) drawnfrom the underlyingchord
tones.Specifically, Al is the maiorthird of the Ff chord,A is the root of the A chord,and
Gf is lhe majorthird of the E chord.Added open stringsfurthercolorthe chordswith the
commonlones E and B, and resultin F{7sLrs4-Asus2-E. To createa compositearrange-
menl (Gtrs.2 and 4) for one guitar,you could takethe melodyline and simplyfill out the
lowernotesol eachchordon beat 1 and allowthemto ring out as you arpeggiatethe high-
er stringsin the melodyiine.This won't soundexactlylikethe recording,but it's the best
compromiseto keepthe chorusfrom soundingtoo emply,shouldyou needlo coverboth
Dansal once,

@ 1995EMIVIRGINSONGS INC. NdM.J.TWELVE MUSIC


ArlRishlscontrcrl€dandAdministered
by EM VIRGINSONGS,lNC.
AlBlqhts BeseNed InternatonaCopyrightSecured Usedby Permsson
StanOarO
tr.rning
notes:E-A-D-G B E
Q

G 1 r . 2 m e a s2 3

G G,{)
Fig. I
ffi
m

G G/A E G A
N fTJ
E

m ),-)D11 ) DDl D1-D


Tbis can be_ a good.- E- vcn all

G A GDE
-_- - -1 -- l]nd Rhy.ris. ]
-i
/ / l'/ / / | | / / /-/ r r t / / / / / / / / / / /-/ / / )

sant ing had_ a

F{5

i'*ff) w)-Jal1 DaTrn

ro codag
Ff5 E E G5
@
DndRlJ. Fis-2

T)DD-D fTNDII D,-t', ) ,n I

a call- to dl. *
Figure 2 -Verse, Chorus! Inte ude

Unlikethe first verse-which was brokenin hal{ by a ctean-then-distorted accom-


panimentstyle-all sixteenmeasuresof the secondverseare playedwith lull distortion.
Theonlynewthinghereis toundin measureB,at the midpoint ofihe verse.This motiffirst
appearedat the end of lhe chorus.In this case,though, i is playedwilh full chords.
The song'ssecondchorusis exlended,and utilizesthe repeatingthree-measure
phrase(FF5 A-E) three full times.A fourth repetitionis then begun but clippedoff after
only two measures,once again deliveringan unpredictable quality.This chorusis eleven
measures long.
The inlerludegives us the song'sfirsl real ritf.Buiftupon ihe tonal centerof E, it
twists back and fodh betweenthe dominanltonality(E7) in measure28, with ils bright
majorthird,and the parallelminortonalityat the GS chordin measure29.Secondinver_
sion powerchordsfill oul and thickenthe low end in ihe middteot the ritf,on the A5, 85,
and D5. Pick with either all downstrokes, or use the strumming-style approach:
down/up/down, up/down/up/down, up, up/down/up.

o G t r . 2 m e a s1. - t6
Gtr 2 meas 27-39

9 Glf.2 m e a s2 7 - 3 1

. E -
fing

I , B G5 E

7-
#+E-
"-
'tt: / D ))
F ' E i

'rg
1 r
idll

. call ro all hl
Crs l.l&a: v/Rn) Fi!\ l&lA. ln.lmex\ onr)
F{5 Ff5

Interlude
E7 Gs G{5 As
r l) l
i.lt

E7 G5 G{5 45 B,fl D5 E7 G5 Gf5 A5 B/F{ G5 Gl5A5

Btr{ G5GI5A5 B/F{ D5 G5 E7 G5G{5 A5 B/Ff,


*$

10
Figure 3 - Interlude,Outro

This figurepicks up the song atterthe fourth(and final)chorus.The interluderitf


is playedeighi times,followedby anoiherE dominant-tonalitv riff.This time it poundsoul
straighteighih noles in a repeatingone-measuremotif.Pickingall downstrokesis recom-
menoeo.
Alter two measures,a harmonypart enters (Gtr.3), adding augmentedfourth
intervalson the "me'ody"notes and joining in unison of the low Es. Why augmented
fourths?Afterall,that is the infamous,dissonani triioneinterval,and nol generally used
as a harmonicinterval.The answerlies in chordtones.lf we regardihe ofiginalritt (Riff
A) as relatingto an E7 chord,we see that the low E functionsas the rooi and D tunctions
as the chord'ssevenlhlone. C1 is simplya chromalicmoveto add interestin betweenD
notes.Then ihe harmonyadds a Gd over D.This is E7's majorthird.So the harmonyand
melodytogelhersimplyspell oul a dyad drawnfrom the E7 chord.And when the melody
dropsa halfstepto Cl, the harmonymovesin para et,alsodroppinga halfstepto G.

I Glr 3 meas.5-9

o
Fig.3

Int€rlud€ Outro
i'c! 5 {/Rrr) f t:..lrbrne
E? G5 G+5A5 BiT$ D5 c5 E N C.(E7)
@

l:'J .l i

N.C(El)

1l
I'LL STICK AROUND
Words and Music by David crohl

Figure4-lntro,Verse

"l'll SlickAround"
becamea secondradiohil, and its video gainedheavyrotation
on MTV lt kicksoff with a high-energypowerchordritt.The root movementof the chords
(G5 E,5 Bb5-C5-F5)spellsout the tones 1 t6th-'3rd-4th--7th in the scateof G minor.
Noticethat the one-measurerifl is alteredeveryfourthrepetitionslightly,by changingjust
the last chord.Pick all eighlh noles wilh downskokes,reservingalternatepickingtor the
sixieenthnotesin beat2.
At measure6, lhe verseflips abruptlyto the brightertonalityof the parallelmator
key,G major.I\,4easure 7, however,provesit to actuallybe Mixolydianratherthan pure
major,as the F chord is built squarelyon G minor seventhstep.The first four measures
(G-F-Am-G) ,it Mixolydiannicely.Layeredtogetherto createan interestingtexture,ctr.2
arpeggaates the progressionas Glr. 1 cranksoul full strummingchords.
Just as thingsget sale and comfortably"major-ish," crohl slips backto the paral-
lel minorkey in measure10 (Bb)and thenjust as smoothly,stepsbackinto Mixolydianfor
the remainderof the phrase (Am G). Notice the characteristictension, or "pull,"that
developson the Bb chordas it conkaslsharmonicallywith the rest of lhe phrase.This is
mostapparentwhen listeningto the strummingpart (Gtr 1).
Interestingly, Grohlstructuresthe song so thal atter the first verse,we hear not a
chorusbut rathera briet restatementol the intro ritl.Atler a short inskumentalinterlude.
he heads back lor a second verse before evenluallymoving on to the pre-chorus
ano cnorus.

0 G l r . 2 m e a s1. - 2 5

0 Glr.2 meas.2-5

GD Bb!l

ffi
F7 D Dsusz
Ffin i+i"i i+i+'
ffi ffi ffi

AegressiveRo.k, = 138

{;B G5 Eb5 B b-5C-5 F5 G5 Et5 Bt5 c5 F5 c5 Eb5 Bb5 C5 F5

O 1995M.J TWELVEMUSIC
AllRiQhlsConiroled and Adminsteredby EMIVIRGINSONGS.INC
12 l ohts Fesetoed Intemalonal copyrighl
CoDvriohlSeclred UsedBy
Bv Permission
Permis
VeKe
G5 Eb5 Bb5 C5 F5 G l-

saaa
Rh}.}i9.,

a I n

G/D G
EndRhy.fig.l Rhr. rE l

w) m
a a -

13
one - who
gagged- and- boD.d.-

G/D Am

ty. - And I...


They'll come an knock you down- (and I ll be

Figure5 - Pre.Chorus,Chorus

Thepre-chorus movestwicethrougha Bl-G-Ca (tlll-l-lv) progression.Guitar1


addscolo.,withaddilional tonesof a majorsixthon the Bbchordanda thena minorsev-
enthon the G chord,creatingG7 and so pullingto C via the familiarV-l resolution.
Of
courseC isn'ttrulythe | (tonic)
chord,but functions here as a temporary
lonalcenter
Thechorusretumsto G andpunchesouithemainritfund6rlhe lyric,"l don'low€
youanythingl'This timeit'sa full eightmeasures,as in the intro.

14
0
o
Fig.5

Btv'
@

.1 TT-I
ck2 \
. I t-) l^''.-'---.---.-------...-..--

B'
i^.

$ill frde I m

G5 Et5 Bb5C5 F5 C5 Eb5 at5 c5 F5 G5 tib5 Bb5c5 F5 G5 Et5 B t 5c 5 B t 5

rhrng.

Et5 Eb5 Bt5C5 f5 c5 Eb5 A r 5C 5B b 5

15
Figure6-B.idge,Out.o

The bridgeutilizesanotherinventiveprogression,E,-F7-G-D. Ratherlhan begin-


ningon the lonic (G), here Grohlopts for the tVl (Ei) chord.This is followedby F7 (,Vl17),
the minorseventhof whichholdsonto the high Eb voiceas a commonlone. Now usually,
F7 would pull lo Bt as a V-l resolution.lnstead,he choosesto stay in the relativeminor
key and headto G-but twist it harmonicallyinto G ma,or.Thedominantuppervoicetead-
ing here is E' (overF7) tallingto D (overG).This is followedby D, the V chord,with a syn-
copatedsus2 motionlhat helpstransitionbacklowardEt to beginthe cycle anew.
SinceG is the song'soveralllonal center,one can easilystartto hear G as being
the firstchordof the progression, as it cyclesoverand over.Resistthat temptation!Count
five full timesstartingon Et, then tack on one additionalEb-F7.The sixth repetitionis cut
short,and insteadof hittingthe G majorchord,headstraightto the main rifi (in G minor).

! I
t {i
]s
i " I
Fig.6 0
Bridge
Eb5

i';"ffi DaaD)
I ll - srick a round. l ll - slick a

c d r & 2 :* / R h yF i gt . l 1 / 2r i n $
Dsus2 Dsus2 F7

W)^f)

1 Sluftd lN time only

D Dsus2 D Dsus2 Eb5

Heyl

CG I & 2 {/ P,hy.Fls. I
c5 tst5 Bb5C5F5 c5 Et5 Bb5C5 F5 G5 Eb5 Bb5C5F5 G5 Eb5 Bb5C5 Bb5 o5

I
BIG ME
Words and Music by David crohl

Figure 7 - Intro and Verse


"Big Me" is track 3 on lhe
debut CD-and lhe third smash hit.The Foo Fighters
were battinga thousandllt also becameN,4TV'S 1996Videoof lhe Year.
"Big Me" is slruclurallyquile
sophisticatedand, once again,a liiie unexpected.lt
opens with a slraightlorward,four-measureprogressionutjlizing the chords
C-Am7-Gsus4-F (l-vi-V-lV). After buildinga sotid"base,,fortwo repetitions,the vocals
enter as lhe guitarcontinueswith the sarneprogressionfor two more repelitions.At the
chorusin measure17, lhe chordsare E-F-C-C7, then E-F-F-G. This has morethe feel
of a pre-chorus,really-as if it's buildingup to somethingmore.(Still,it containslhe tifle
lyric,so it has been labeled"chorus"anyway.)And jusi whatdoes it buildup to? The final
G (V) chordpullsstronglybacklo the tonic,C, and we hear...theversemelodyagainl
Somewhatof a surprise,or maybeeven a let down.Too easy,huh?Well,just a minote.
It's actuallythe sarre /yrlcas the first verse.So mavbeit,snot a verseal all...versesare
supposedto changefrom one to the next.So maybelhe verseis reallythe chorus?After
four measuresthroughlhe C-Am7-Gsus4-F progression,it then goesinto whai is clear-
ly the most satisfyingand "closing"hook of the song in measures29-32, with ihe pro-
gressionC G-F-C-G and the lyric"But it's you, I fell intol'
Whal are we to makeof all this?Grohlis pushingthe boundariesot songiorm and
the functronsassociatedwith the variouscommonslructures.Actually,there is no real
verse in thassong in the typicalsense.lt utilizesseveralditferentstructuresarrangedin
an ABAClorm.The A sectionis labeled'Verse'in the transcriotion. The B. A. and C sec-
tionsare jointlylabeled"chorus"in the transcription. But actuallythe B sectjon(measures
17-24) soundsmore likea pre-chorus,althoughit admifledlysportsthe ti e lyric.The fol-
lowingA section(measures25-28) is halfthe lengtholthe openingA sectionand repeats
the same lyric found as earlier,acting as an inlerludebetweenpre-chorusand chorus
(and actingvery "un-verselike"I mightadd)_Then the C secfion(measures29-32) iies it
togetherand marksa feelingol completion-doingthe job ol a chorus,bul, of course,jt
doesn't have the litle lyric.These structuralidiosyncrasies, taken togetherwith the fact
thal the song is unusuallyshod and a texturaldepanurefrom all other songs on the
album,add up to makingit more of a littlemusical"excursion,, than a full song.Simple,
almostchildlike-a perfectfit, no doubt,as Grohl'sintentionhere is unmistakable.
Playingit is alsoa bit moredifficLrltthanyou mightat first imagjne,as it usessome
reasonablyuncommonforms ol common chords. For example,the opening C chord
includesthe high G note,accomplishedby frettingwith your pinkyon string 1. Holddown
your first and fou.th fingersas you change1oAm7, movingonly the requiredfingers(2
and 3). The picking should be down, down/up, up/down/upfor measure 1-3. then
down/up/down/up, up/down/upin measure4.
The C to C7 move in measures19-20 can be accomplishedby simply moving
your pinkyfingerfrom string 1 to 3, whitecontinuingto hotddown alt other tingers.Also
noticethe"typell" G chordappearing in measure31.

O 1 9 S 5M J T W E L V E
MUSIC
ar B'ghlscont(o ed and admnisleredby EM vtRG N soNcs Nc
AlBqhts Re$./en lnlernatonaCopyrehrS€ured Llsed!v Pe.T ss,on
0
0 Glr. I meas.29-32

Fig.7
E c1 G
r+ii
€ffi ffi

ModeratelyJ = 130
C GD Gsus4 G/D F

C CD Gsus4 G/D F c/D c

I
I

G,D Gsus4

all
ralk

Chorus
G,D E

n-w) w)-w)
18
E

) - r , t , , , / / ^ / / r , ) D^fTT)

M^'TT) n^m W)^fT)


Well, I

Ct l: */ Rhy.Fs. I
2 5 C G/D Gsus4

talked a bour it. 1y But it's you,-


talked a bort il. ir Bur it's you,,

G/D C G/DF C/D C GrYF 2 G/D

D ^ W ) ) , n )D )
I fetl in to. -
I fell_ in , b._
'vm. h5m 2nd tin. oory (mxt I n6
)
ATONE + EASY TARGET
Words and Music by David Grohl

Figure 8 - Intro
"Alone+ EasyTarget"is favorite
a amongguilar-playingFoo lans,wilh its driving
rifis and heavy chorus. The opening rifi is based on the three-chordprogression,
D7-Ft E. This first suggestsa D [4ixolydianmodalitythowever,Fl's ma,orthird (Af) con-
lradictsthis, drawingon the parallelD Lydianmodality.Later,a somewhatmeandering
vocalmelodyentersoverlhis rift and reinlorcesthe modal"confusion," with no clearplace
lo resolveto. In lighl ol the lille, it seemsthe musicis reinforcingthe protagonist'slack ol
directionand vulnerability. Kudos,Davel
In the opening measures,a repeatingFf-G moves against a static D7 chord
backdrop,creatingalternatingD7 D7sus4chords.Noticelhe Ff chordin measure3 with
addedopen E and B slrings-the samewas usedearlierin the chorusmelodylineof'"fhis
is a Calll'This entireritt is approachedwith a strumming,allernatepickingapproach.
The chorusrocksout with one-fingerpowerchords-a convenienceresultingfrom
this song'sdrop D tuning.Pick with all downstrokes. The roots of the chords employed
here (D5, F5, G5, A5, and C5) spellout lhe D minorpentatonicscaleper,ectly.lf we took
deeper,we can see the outline ot a fast moving progression(two beats per chord)l
D5-G5-D5-A5 (i-iv i v) with F5 (blll)actingas a passingchord,lhen one measureper
chordon F5-C5(rlll ,Vll). Don'l torgetto retune.Hereare the drop D tuningnotes:

D tuning:D-A-D G B-E

Fig. 8 0
O=. @=.
@ = "@ - ^
0
@=c @=D

Rock,J = 129
Moderate
N.C.(D) D7 D7sus4D7 D?sus4D7 D7sus4D7 FfiTadd,Ycl UB

\a. h pp -<:: hf / lJ ndg lbloushod

D7 D7sus4D7 D7sus4D7 D7sus4 FfTadd4/C{ D7D7sus4D7 DTsus,l

rs!..ndsr (!/'iisn enlersrnd double!.nr

ck r: q/Rhl.tig l..1rme\
DTsus,l D7 F*7add4/C{ D7 D7sus4 D7 DTsusl
i("s
J

2. Ct^ zy T.
@ 1995I"'.J TWELVEMUSIC
A lF qhls Controledand Adninst€r€dby EMIV RGINSONGS,INC
20 AllRlqhlsResered InlernalionalCopyghl Secured Usedby Pemisson
D7sus4D7

DTsus.l DJ D7sus4 D7 F{7add:l/Cl

call when I'n done.


the

D7sus.4 D7 D7sus4 D7 F{7rdd.4/CS

lauSh in
He

D 7 D 7 ! u ! 4D 7 D7sus4 DTsu\4 D7 FfTadd4/Cl E/B

Tum and swing- Ill gile thn.


I d o nr f e e l _

30 D5 F5 D5

F5 G5 F5 D5 F5 A5 D5 F5 D5 F5 D5 F5 D5 C5
Figure9 - Bridge,Breakdown,Chorus

The bridgeintroducessixth comping,1rst used by blues accompanists and


adaptedto rock'n' roll by the likesof ChuckBerryand Elvs. On beats2 and 4, the fifthof
the chordis raisedone whole step up to the sixth,workingwith the snareto helpacceni
its backbeatrhythm.lt is a little dil'terenthere physicallybecauseof the drop D tuning.
Hold down the three-stringpowerchord with your first fingerthroughout,and use your
thirdfingerto add the sixthtones.
In measure3, sixthcompingis replacedby lhe all-outpunkassaultot driving
eighthnoteson slraightpowerchords.The breakdownsecUonsimplyrecallsthe opening
rifffourlimes,thenwe plungedirectlybackintothe chorus.

0
Fig.9
@
Bridge
G5 G6 C5 G6 G5

22
D7 D7sus4D7 D7sus4D7 DTsu\4D7 FlTidda/C{
- - - +

F5 G5 F5 D5 F5 A5 D5 F5 D5 F5 D5 F5 D5
, l o t ? . a L JJl.u
- L .^.. -
A
-
t wanl out._ Im a tone_ and t.m an

F5 A5

D5 C5
-l- t-):"'=
I m

23
MONKEY WRENCH
Words and Music by David Grohl, Nate Mendel and Pat Smear

Figure 10 - Intro, Verse,Pre-chorus,Chorus, and Interlude

In late 1996,atterextensivelouringin supportof the first release,the band recruit-


ed producerGil Nortonand sat downto createlhe tollowup. Forthe tirst time writingand
recording as a band, some creatjve ditferencesappeared, and drummer William
Goldsmithleft in the midstoi the session.This put crohl back behindthe drumsfor most
of the recordin addition1ohis guitarand vocalwork.DrummerTavlorHawkins,freshfrom
eighteenmonthsof touringwilh AlanisMorissette,joinedthe bandiustaftertheatbumwas
completedand appearedin the first Grohl-directed video,"l\4onkey Wrench."
Thishard-rocking up-tempo tuneis alsoin dropD tuningandfeatures a subtleand
sophisticatedarrangemenl,which marvelouslyweavesa numberof recurringmolitsjnto
a single,well-knit whole.
The song kicksofi with a prominentmelodyline (RitfA) over a drivingchordpro-
gression.Overthe key centerof B, the 85 chordis the lonic, Fls is the V chord,E5 is the
lV chord,and D5 is blll.Themelodyis foundentirely on string3, andcanbe playedby slid-
ing your secondfingerto each new note.Playwith all downstrokesto favorstring3, and
allowstrings1 and 2 to also ring out.The B stringadds a droningkeynoteand the high E
string addinga lourlh tone. lt gets more ditficultin measure4 after the bend,due io the
quickmovefrom fret 61o 4 and then all the way up to fret'11to repeat-three shiftsof the
left hand in a scantthree eighthnotes.You may lherelorechooseto swilchto your third
fingerfor the bendsat fret 6, then play fret 4 with your lirst finger.This reducesthe num-
ber ot left handshifls.
Jusl as quicklyas they enlered,the band winks out for a totallyclean four-beal
breakin measure5. Then,to add lo the uncerlalnty,theycome in on beat hro of the verse
ratherthan beatone.Therelore,the breakis writtenas a measureof 3/4 time,followedby
lhe verse in 4/4 time with a fest on beat 1. In fact,it is also necessaryto countthe break.
''one,two, three!one,"so you won't
hear the re-entrypointas beingbeal 1. Doingso will
seriouslycompromiseyour abilityto piay that measurelThe chord patternin the verse is
an alteredversionof the inko chordprogressionwith a full resl on beat 1, accentpoinlon
beat2, and palm muting-Playwith all downstrokes.
The pre-choruselaborateson the "rest on 1" rhythmicmotif of the verse.Bather
than breaks,the guitarfills the space with middle-regisler notes.lt's actuallynot a break
at all, but set againsllhe surroundinglow-registernotes,this still impartsa bit ot the same
"break"teel.
Specifically,
measure22 addsan A note,measure24 adds a minorthirddyad
(A-F#),and measure26 addsa fourthdyad(D-A).Takentogetherwe can see that in each
case,the notesare varlousportionsof a D majorchord(D-F# A).
The chorus is somewhatsimilarto the progressioneslablishedin lhe intro and
altered1o becomethe verse.The rhythm is a more spare, strummedatfair.Measures
28-29 should be playedwith a down, down, down/up,up, up/down,down/uppattern.
Continuefollowingthe sameidea,playingall downbeatswilh downstrokesand alt upbeats
with upstrokes. The progressionis in B majorwithlhe chordsBs-cfs-FlS-Es (t-vi-V lV)
untilthe very end ot the phrase,when an oul-of,keyC5 (bll)chordjab demandsour atten-
lion and lenselypulls us back to the tonic. Noticeonce again the sublte recalljngof the
'1eston 1" rhythm
motifin measure32, thistimein the chorus.

€) 1997EMIVIBGINSONGS,lNC, M.J.TWELVE i,lUSC. FLYNG EAFFOFMMUSTCand FUTHENSMEAB MUSTCtBMtt


Al RighrslorM.J r /ELVEi,rusrc and FLYTNG EARFORMMUSC Cont@tedand Admnisteredby EM vtBG|N soNGS, tNc
AllREhls lor RUTHENSMEAR MUSC Admnrsleredby BUGl'/USC
AlRlghrs Besetued Inteharona CopyightSe.lred Usedby pemissio.
E
Fig.10
r^
Glt.1 neas.22 27
Gtr.I meas 28-35

E5 D5
@=e @=' -\
@=r, @=^ ##
ffi
@=. @="
Intro
last Rck.l = 174
I rii r

E5

=
D5 E5 D5 E.5D5

Lwhlt hrvc {. donc


2. Ali

B5 D5 E5 D5 E5 D5

It dn ap peded with
whll do )ou do whcn !ll mies lricnd\l

r'l5 E5 D5 E5 D5 E5 D5

Ad o les
Now and ften fI

Fl5 D5 E5 D5 E5 D5

ph. nmg

D.5 E5 N.C, E5 D5 E5

26
D5 E5 D5 E5 D5 NC. E5 D5 E5 E5 D5 E5 D5 E5 D5

-r:...r- i=
::.P...+- Y .+

B5 Gd5

Don r wan n! be_

B5 Fl EC5

!:l
One more Ln de
Gi5 F$ EF$

Itrte.lude

N,C. 85 Fl EF$ EC5

be your mon key srench

Figure11- Bridge,Ve.se,Pre-Chorus

The bridgebeginson G*5,1hevi chordand relativeminorof B. Syncopated E5 B5-c5


chordsfollow-the G5 borrowingtemporarily from the parallelminorkey, B minor.
Measures 3-4 reiurnusto familiarterritory,recalling
a similarsectionfromthechorus.At
the sametime,a newarpeggiated melodyaddsinteresthere,utilizingthe sameopen
shingcommontoneswe firstsawsupporting the openingmelodyline(RittA).
Onthethirdandfinalrepetition, we seesomeslightvariations astheenergyrises
a notchhigher.l/leasures9-10 expandon this by drawingout the finalmotiftwo extra
measures.
The versethat followsuseslhe intrc chordpattern(Rhy.Fig.1), not the part
playedin theprevious verses(Rhy.Fig.2).Withoutanybreaksor palmmuting,the ener-
gy hereis full-tilt-jnsupportof the rising,screaming,quarter-notevocalapproach.The
pre-chorus thenappears,butthe previous vocallyricandmelodyhavebeensupplanled
by thewailing,sustained screamthroughout. Ralherthansimplyrepeatthe musicexac!
ly,however, noticethe keenattentionto detailand songdynamicsin the formof subtly
addedaccentpointsin measure31.Thechorusfollows.

2a
o
o Glr 1 meas.27-32

Fig. I l
Bridge
Gls B5 Fl5 L5 Ff5 [5 D5
. :_]6

t + I

I *JJ! -.*--lo,---F E
i t.:3_i1iiti - - -

5 - = 3r 1 I f f i 7r
: . , 1

1. .7- r' i- ^ t

Gl5 a5 F+s Fl5 E5 F{5


r':".^ i-J

E5 Fts Fi5 Ffs

m_
Fl5 E5 C5

D )
11 85 D5 E5 D5 E5 D5

lhrng want ed an y mofe than

15 B5 Fl5 E5 D5 E5 D5 E5 D5
0+"+.r :+
6ffi1
J
I lir still re ftem be.

B5 D5 E5 D5 E5 D5

! long with jt: Still.

Ffi5 E5 D5 E5 D5 E5 D5

thmg

E5 D5 E5 D5 E5 D5 E5 D5 N.C. E5 D5 E5

D.S. dl Co.la
D5 E5 D5 E5 D5 N.C. D5 E5 E5 D.5 E5 D5 E5 D5

w) saal

30
Figure 12 - Outro

All the elementscome togetherin lhe fjnal outro chorus.lt is blendedso seam_
lesslythat withoutanalysisit mightjust slip by whollyunnoticed,but thjs js not the same
as lhe previouschoruses.The choruslyricand vocalmelodyare introducedon top ol the
htro progressionand melody(Riff A). An addedbackupvocaltine (',fa in, tall ouf') also
helpsto fill thingsout lor this finalstand.The endingporlionin measures14_18reca s the
extendedsectionat the end of the bridge.All in all, this song is a very well crafteoano
interdependent work.

o G t r .1 m € a s1 - 1 9
Fig. l2

o
l Fs5 t5 D5 F\DTF5D5

(Fall fall

F*5 E5 E5 D5 E5 D5

Fall

E5 D5 E5
- " "D5
" : ' E5D5
-) . t"-
:- L+ l l
-
you. mon-rcy wrench._
ral tull

F{s E5 N,C. Fl5

I
HEY, JOHNNY PARK!
Wotds and Music by David Gtohl, Nate Mendel and Pat Smeal

Figure13 - Intro,Verse,Chorus

Allhoughnot one of lhe principlehils ol The Colou and the Shape,"Hey,Johnny


Parkl"is a hard-hiltingFoo balladthat ls adminedv fun to play.AnotherDrop D tuning
adventure,this relaxed-tempo tune otferssomesignificantdynamicchanges.Be prepafed
to switchquicklyfrom full distortionto an airy,cleantone.
Set in the key of B minor, the opening progressionis a punchy B5-A5-E7
(i bvll lV),followedby G5-D-E7 (FVl-Flll-lV). Prominent use of the sevenihchord(E7)
helps to set this Foo Fighlers progressionapart frorn the more standard hard rock
approach, whichgenerally relieson straightpowerchords.
On top of this, a guitarsolo-a truly rare eventin Foo arrangements-laysout a
caichyset ol melodicphrasesbasedon a lwo-beatmotii.Slide up to B (root)at the ninth
lret wilh your third tinger into "box 1" B minor pentaloniclerrilory.Then hit F{ (fifth)with
yourfirst fingerand pull ofl to open B (root).Beattwo complelesthe motifwilh a D (minor
third)and vibraloedCl (second). Simplypullihe stringdownslightlyand releaseit back
10its originalpositionseveraltimes.Themotifrepeatsin beats3 4 with onlythe first note
alteredto becomeA, the root of lhe underiyingA5 chord.Then it's backlo "box 1" for the
lwo-slnng m nor lhirddyadsIn measure2.
In lhe verse,a clean guitarenterswith a trebly and compressedtone.The pro-
gression here is Bm-D-Bm-D, lhen Bm-A-E7- (This recalls the inlro progression,
althoughthe time valuesfor each chord here are doubled).Nolicehow the line empha-
sizes a backbeatrhythm,with accenlspointson beats 2 and 4. Use a sixteenihstrum-
mingapproach-all downbeatsand upbeatsshouldbe playedwith downskokes,whileall
secondand lourlh sixteenthsubdivisionsshouldbe playedwilh upstrokes.
The chorusbringsback ihe dislortedguitars.Shiftinglnto the relativemajor key
(D),a G5-D5 (lv-l) progression is playedthreetimeswithone chordper measure. The
choruscloseswith a C5-G/B-F5-D5 (,Vll-lV-blll-l) progression,whichtemporarilybor-
rowslrom the parallelD minorkey at F5. Herethe chordsmoveby twiceas tast with only
two beals per chord.

@ 1997M J. TWELVEMUSC. FLYINGEABFOFNIMUSC and FUT|IENSMEAFMUSC (BMl)


Al Rrorilslor M.J.-TWELVEMUSICand FLYINGEARFORMMUSC Conlroledand Admnsleredby EMIVIFGINSONGS NC
Al RiohlslorBITHENSMEARMUSC Admnslerodby BUGlvlUSlC
32 AlBghts Beserued InternationaCopyighlSecured Usedby Perm6s'on
o
Fig.13
@ Glr. 1 meas.24-26
G l r .1 meas.31-34
@-. @='
@=" @=^
@=" @-'
Intro
NloderatelySlor Rock.l = 85

B5 E7 E5 D5 E5 FS5

G5 E5 D5 E5 D5 B5
* l

6
Ei DaLa l-ia

brursc 's col

s"+

-=-......--\

Ev ry thl.g
E5 D5E5 D5E5 D5 Bm

2.Wish thal l- had


LYour eles still re -

t{--
J.
_<

Was it a- chdge-
eyestharcan change
I
!r blLr.._

-
{tt
--t -

cr: r&t:$/Rh| frs I tiib.siDilr


G5 G5

I('s im cm't lcr it our.

ing Iou o u t ?_ Srr inLl trJrlh:

c5 D5 F5 D5
31 D5

36
Figure14- Interlude,
Verse

The interlude is bascallya recallingof the introsectionand ls featuredguitarsolo


me ody.Uponcloserinspection,however.we find thai just the first portionof the progres-
sion(B5-A5-E7)is used-the G5 D E7 partis omitted. So the mainleadguitarmelody
comesat us twrceas iast as before(everytwo measuresinsleadoi everyfour measures).
The secondrepetitionfeaturesa variationin measure4 basedon an E7 arpeggo wrlhan
addedfourthtone{A).Theth rd reoetilion is identicalto the first.
Nleasures7-B recallthe chorusprogression(G-D), but w lh the time valuescut in
haf a technique knownas diminution.The versethenbeginsin measure10.Althoughit
uses the same harmonicand melodc conientas before,the tone and rnterorelation are
completely ditferent.
HeTewe havea constantly churningrh)4hm playedwithfulldislortion.
On top of this,guilar3 addsa melodiclineulilizing octaves.Useyourfirstandlhirdfingers
to playthe irettednotes,slidingJromone positionto the next.Also,makesureto ade-
quatelytouchand holdlhe ntervenng siringrnuledwiththe sideot youriirstfinger.

e
o Gtr 3 m e a s1. - 8

Sooo
d

E5D5 E5D5 B5 Ei Di Il5 Fli

37
N.C.{G5) (F!51

L Nus

way lone - be ibre I'd shrc a piece

38
E5 F*5

Figure15 - Outro-chorus

The iinal choruscontinueswith guitar3's octaveinput.Over G5, we have Fl


(majorseventh)octaves,with a quickha f-steps ide up to G (rool)and backdown again.
When the chord movesup to D in rneasure2, the Ff octavesare repeated,now iunc-
t on ng as majorthirds.This continuesuntilmeasure6-the thirdand last repetitionof the
G5-D progression. To markthis momentas a competionof sorts,guilar3 risesup to
oclaveAs (ninths, or seconds)and the slidepullsil up to Bs (tenths,or thirds).
The closingportionol the chorusutilizesthe C5-G/B-F5-D5progression. Here
again,we see the FooFighters' subtleyet sophisticated composllonalfinesse,blending
and bringing togetherparlsprevious y considered separateand distinct. Specifically,
the
same F:-G octavemoveusedoverthe G5-D progressionnowiunctionsoverthe final D5
n the closingprogression.Althoughsimple,the parthelpsdevelopthe songdynamically,
otfering a "building"
scenariowherethereis a wayssomenewaddedpart,evenas a famil-
ar songstructure rs repeated.

0
fig. l5
Outro-Cho.us
G5
e Glr 3 rneas.
1-2

l
C5

You'll ncv er kno$. Am I Sit and

C5 G/B D-5 F5 D5

cts l&2 v/ Rnr Fig I I lr! rntu\


C5 G/B D5

F5 D5 C5 G/B D5 C.5 D5

40
MY HERO
Words and Music by David Glohl, Nate Mendeland Pat Smear

Figure16 - Intro

Afterthe uncompromising successol "MonkeyWrench,"lhe songs"l\,4yHero"and


"Everlong"deliveredthe band two more hits.
"My Hero"openswith a modefatelyslow,half-timegroovein
standardtuning.This
meansthat the drums play at hall the writientempo,which makesthe grooveleel like a
slow 77 bpm ratherthan the 154 bpm ai which it is writlen.Each measurewill haveonly
lwo "halttime"beats.That is, insieadof havingthe snareon beats2 and 4-as in a typi"
cal 4/4 beal-lhe snarewlll soundjust on beat 3 of each measure.Of course,this song
couldalsobe writtenat 77 bpm,and all nolevaluessimplydoubled(eighthnoteswould
be writtenas sixteenlhs, quarterswouldbe writtenas eighths, eic.).
The openingdyadsare the resultof a single-noie melodylinebackedup by a lit-
I e extragrit ol lhe droningfirst slring.Overthe tonalcenter01E, the droneequatesto the
root,whilethe melodystronglysets up an E majorlonalitywith the use of D4 (malorsev-
enth).
At measure13,lhe mainprogression enterswitha revolvingE5 C15(i vi)pattern.
Overthis. Gtr.1 evolves1oa new melodyline,or main riff,also derivedfrom EmajTtones.
Holdingon to theselonesoverthe C15chordcreatesa strongharmonic tension,whichis
releasedwith each returnlo the E chord.Technically. takinga Cls chordand addinga B
(minorseventh), Di (ninth),and Fi (e eventh)yieldsa C#11chord.Noticethe interesting
changein harmonic tensionin measures16and 17,as the melodyreturnsto the notesol
the E triadin anticipation of the underlying chordmoveto E.
A single-note transitionriff in measure18 worksup to a pauseon the A5 (lV)
chord.Beals1 2 couldbe seenas beingdrawnfroman Fts (li)chord.Beat3 employsthe
notesB GFwhichcouldbe seenas the minorthirdand rootof a Glm (iii)chord.So ii
rnovesup the diatonic,harmonizedE majorscalewith the progressionii-iii-lV

Stanaaro
tunlngnotes:E-A-D-G-B-E
@

0
ct5
ElE+
I
NloderatelX Fast Rock J = 154

N.C.(Es) (c{s) (CT5) (cts)

o 1997M J TWELVEMUSIC.FLYINCEARFORMMUSICand RUTHENSMEAR MUS C (BMt)


A F ghls for M J. TWELVEMUSC and FLYTNGEABFORMMUSICContro ed and Admn sleredby E[4tVrFrGN SONGS,tNC.
Ar F ghls lor RUTHENSMEAFMUSICAdm n sreredby BUG [,lUSC
AlRghts Feserued nlernalona Copy/lghlSeclred Usedby Permssion
t- c{5/c*

' - : - - . ]

-:t;

cf s/G$

.9

Figure 17 - Verse,Chorus

Al the verse,Gtr.3 takesovera simplified,single_note


versionof Glr. 1,sprevlous
dyad-basedmelodyriff.This stightadjustmentallowsji to ftoatdown a notchdynamicay
and sit behindthe vocalsnicely.
Thechorirsbeginsin measure17.It is baseduponan A_Eidea(lv-l), witha tong,
sweepingfour,measures per chord.Withinthat largerframework,the guilarsweavesome
nice, diatonicmelody lines in octaves,lemporarilysuggestingA Lidian
and E malor.
Nolice the prominentuse of DF-stressed recurreny i; both ine iniro anCverse_over
bolh chords here as well. In measure29-24, G1rc.2and 3 splil apart io harmonrze
In
thirdsand amplifytheir alreadymetodiccharacter.
Measure33 recallsthe inifo.pause' riff,then we are quicklyreacquaintedwith
.
the openingmelodyphrasein a two-measurebreakdown.Of courseiti not id;nticat_rnal
would.betoo easy for ihe Foo Fightersconsummateafiangementskills.Instead
il ts Jusr
enoughlo recallthe idea,then an allerationcomes in the-formof a graduallyreleasrng
oeno.

42
0 Glr.1 meas.35'36

I Grr.3 neas 17-24


Glrs.2&3meas33-34
Glr 1
Fig. l7 meas35-36

l cl5/cf c*s/Gl

| -f
I T
l. Too
2. Don't

Es cls/cd c*5/cl

Takc

cl5/Gl

c{ s/G$ css/G{

as he 8oes._

43
A5 N.C. N,C
, + _ + €r
-:: w +1

c k s .r & : r r$ / R h JF i g \r & 3 A
E5 N.C.

$ N.c.
f=a --^_ I _
-=- t*+ . +) :...1
T T T

(cr 2 c.dl m:lash, ]iddnjc)

44
Figure18 - Interlude,
Verse,Chorus

The interlude functions essentially likea guitarso o, butwlihthe guitarin a decid-


edlymoreslructured. melodicroleas opposedto beingthe highlighted soloinstrument. In
lrue FooFighiers arrangement lashion,it pu s lromthevariousmotifsalreadvestablished
in the songthusfar,thenaddsjusla bit more.Measures 1-2 are a recallto the inlta intro
phrase.I\,4easures 3-4 incofporatethe bend,whichwe also saw ear ier-at the end ol the
chorus-aslhe "alteredrecall" of lhatinitialphrase.The newelementherels locatedin ihe
underlying chords.Specifically, it'sthe combtnation of tongpauseswiththe E-Cf chord
movement.Each element-the pauseat the A5 chord belorethe verseand the pivoting
E-C1 pattern n the mainntf and verse-has beenpreviouslyintroduced,but hereihey are
combinedfor the first time,actingas a base for the lnterludemelody.
At rneasure 9, the energystarls1obulldtn a gradualcrescendo. Nolicethe E-Di
motionhereis rhythmically the sameas in the mainmelodyriil and the verseritf(RiflA).
Thatis,we see E in beals1-3, thenDj on beat4 throughthe nextmeasure. Thisis in fact
yet anothervarialion, subtlyrecalling the previousrh!4hmmotrl.I\,4easures .j5-16 push
with extragrit due to quarter,stepand lhen half-siepbends.
The versethat followsutilizesthe samebasicchordmovesas previousverses,but
Gtr.3'ssingle-note linehasgivenwayto an oclave-based countermetody flllingthe spaoe
betweenvoca phrases.

Iiig. lE
0 Glr 2 meas.25-32

0
E5 Cfl5

CF5
,'--

E-5
-='---
rut C_.l J C t.t.i a,H s t H. 1 a.r . . a.J
cr r !/Rny F13 L.2dms

E5 c{s/Gl cd5/c$

I Ku dos.- my he

E5

Chorus
25 A5 N.C. N.C.

46
EVERLONG
Words and Music by David Grohl

Figurel9 - Introand Verse


"Everlong" beginswitha cleanguitarplayingthe rnan, chord-based ritl (Bhy.Fig.
1) oncebeforethe fullbandjoinsin.Of particular interestis the lactthatthisligureis an
odd length-seven measures.By essenliallydroppingout one luli measurefrom the more
commonand anticipatedlengthof eightmeasures,this createsa specialtype of rhythmic
rnlerestin the sensethat the phraseconstantlycyclesanewat an unexpeciedpoint.
The progressionitself relies heavily on suspensions(Dmaj7-Bsus2-Gsus2-
Bsus2),which contributesto its overallunsettled,or unresolvedflavor.Relativeto the
lonal centerol D major,it formsa l-vi-lV-vi progression. The DmajTchordlooksa lot like
Ffs bul for the low D string.Over D, Fl functionsas the chord'smajorthird and C4 as its
majorseventh.The 85 and G5 chofdshavebeentransformedinlo sus2chordsby simply
rarsingthe octaveroot nole up lwo frets.
N,4easures 15-21 add a new melodicelementin the formof Gtr.4'seighth-note
"on/ofl"accents.At firstglance
thls shapelookslike F17.In its contextovera D rool, how-
ever,it functionsharmonicallyas addinga ninthand lorminga Dmajgchordwhen taken
logetherwith Gtrs.2 and 3. Over Bsusz,the same Fl7 shapetakeson new harmonic
mp icalrons. Relativeto B, F{ is the fifth,Cf is the suspended second,and E addsan
eleventh tone.In measure19,we havewhatlooksljkea DmajTchordsuperimposed over
Gsus2.In thissetting,D becomesthe fifthof G, A becomesthe suspended second,and
C1 is the augmenled eleventh-
At the verse,Gtr.4 givesway to the vocals.Then,atler two lull phrases(lourteen
measures)Gtr 4 re-enters,actingas an instrumenialinterludebeforeanothertwo phras-
es ol vocalrenderings.
By ihe way, "Everlong"is in Drop D luning, so don't forget to retuneyour low
sixthstrinql

Gtr.2 meas.a-l4
G t r .2 m e a s . 2 23 5

Gtr.2 meas.2235
Fig.19

O=. @='
@=" @=^ Gtr.2 meas 15-21
@=. @='
Intro
t'rst Rock.J= 158
Nloderatelr

.t."; DmajT Bsus:

O 1997M J TWELVEMUS C
A l R g h l sC o n l r o l e ad n dA d mn r s t e r ebdy E l r , V I R GN S O N G S . I N C
A F q h t sF e s e e e d n r e r n a r o nCa o p y r g hSl e c u r e d L l s e db y P e r m s s o n 47
10 Bsus: Bsusz

c. I \lRh) h! l.!mn.
Dm:jTlrcldq

48
Dm.iJ7

.. r=
Hel

Dnlj7

To night

B!u\2

Figure 20 - Pre-chorusand Chorus

Once again relyingupon movingoctaveshapes,the pre-choruswalks up ihe D


major scale startingon lhe major seventh(C|-D-E-F -G-A). Againstthis, allow both
open D strings(strings4 and 6) to resonatefreely,anchoringthe tonalcenterthroughout.
You'llneedto arch your fingersmore than usualin order1okeepthem from touchingand
mutingthese neighboringstrings.Also,note the rhythmaccentpointson each new note.
The repealedgroups of three notes appliedto a straighteighth-noterhythmcreate an
alternatingdownbeat,upbeat,downbeat,upbeataccentslrategy.The most difficultseg-
mentliesin the finalFl G-A moves,as theserequirequickslidingshiftsol the handposi-
I on.There is not much one can do aboul lhis exceptthe same old drill-slart slowlyand
repeatit overand over,gradualy pushingup you. tempo uniil you'vegot it.
As an arrangementtechnique,here Grohl opls to maintainthe same oddlength
phrasingapproachestablishedin the intro and verse.The pre-chorususes a repeating
three-measurc ph.ase.The thirdlime is cul shortand seamlesslyrollsintolhe chorusafter
only two measures.The B5-G5-D5 progressionof the chorusis the first time we hear a
'normal"phraselength-in this
case,tour measures.Since 85 is the relaliveminorof D.
we can considerthis chorusto moveto the relativeminorkey.Measure19-22 addsan A5
chordand extendedG5 as a transitionback10the main ritt and ihe kev of D maior

0 Glr 2 meas.i-22

I : i S20
.20
0
N .c.(D) N.C.(D) A5
#*
;t
i sins rmar hsmony zid & :tnt rimei onl),

D5

e-y-lhin8 couldev er be this

The on ly thing I ll

C5

you ve gor rolromrse nor I


Rhr,ru1

50
STACKED ACTORS
Words and Music by Dave Grohl,Nate Mendeland Taylor Hawkins

Figure21 - Intro,Verse,Pre-chorus,Chorus

Therels NothingLelt to Losewas madeat Grohl'shousein Virginia,in a manner


decidedly unusualfor a bandwithsucha large-scale mu1-platinum success. Therewas
no outsideinpul, no timetable,and no externalpressure.F fst, Davebuill a slate of the
art recording studioin hrs basement, then invitedfellowbandrnates Nateand Taylorto
live with him and co-producer Adam Kasperin his own personal"hideoutamongthe
lrees"untilthe projeclwas finished. "Stacked Actors;'theopeningtrackol the alburn,is
remarkably diverse,includingsuperheavyrifling,cleanguilars,and hypnoitcpercus-
stveetements,
Takinga cue frorn the modernrock bands like Korn,Tool,and RageAgainstihe
N/achine, lhe Foo Fightersopt for a super-low tuningto bringout the gritand ratflethe
walls.The main rifl of "StackedActors"is a four-measure, single-noteatfairplayedentire-
y on the low (dropA) sixth string.Relativeto the tonalcenterof A, the notesof ihe riff in
the orderof thelr appearanceare A (rool) C (minorthird)-D (fourth)-c (mlnorseventh)
lor measures 2-3.Thisspellsout an A minorpentatonic tonalily.
Measure4 turnsdiaton-
c with F {minorsixth),thendrawsuponE, (f attedfifth)tromthe A bluesscale.Natural
harmonicsin measure5 interruptthe minor b ues scalesectionoi the rifl with a tempo,
rary twist to CF-the brightmajorthird.To play these naiuralharmonics,make sure you
touch the str ng I ghtlyat the lourthfret-directly overthe metallret and not lhe space-
withoulpressing the stringdown.
Alsool interesthere,lhe toneof the low,distortedgullarts unusualand givesa
distinct"lowji" quality.This is the resultof heavyposfdistortioncompression_ That is, ihe
distoried gular lone s playeduncompressed, withplentyof punch.Thenduringmixdown,
maximurn compression s appliedto the pointol audibly"closingdown',the soundafter
each p ck attack.lf you happento havea more sophtsticaiedguitarrig usinga separaie
preampand cieanpoweramp,youcan achievethistonelive.Simplyinserta compressor
afteryourpreampbul beforethe iinalpoweramp.lf youare usinga "normal', guilaramp,
n whichthe preampand poweramp is combined, and you lry runningintoa stompbox
compressorfirst (pre-distortion). it will not achievethe same etfect.Tfy ihe eftectsloop,
and you may havea lillle bettersuccess.
At measure12, the heavy guitarsare oul and the rnoodchangesdramatjcally.
Cleanguitarsand Latin-sty e percussion elements dominate. The mainguitarpart(Glr.4)
consistsof a one-measuremotifbasedon Am7. Pick ihe open tifth string (A) on beat j,
thenthe lop three strings(E-C-G) on beat2. Althoughthe E-C-c triad tookslikea piece
of C major,overA it formsan Am7 chord.In beai 3, lhe A root note rnovesup to C and a
thirdis added(E).At thispo nt, withthe lowC E combinedwllhcontinued ringingot lhe
uppertrlad,the guitaris in lact playinga fu I C majorchord.Still,in ihe largercontextof
droningA notesby otherinstruments,il acts as an ArnT(Am7and C/A are identical).Slide
ihe thirddyad(C E) up two lrets1o(D F1),thenp ck the Dadd4chord(D-Fi G-D) on
beat4. Thisunusualbeasiis the resultol takingthe openC majorchordshapeand rats-
ng rt two frels, but leavingthe open G siring rightat home.The G note in relatjonto a D
chordadds a fourthintervalinlo the mix. Finally.slide back downtwo frets to C.
Afterlhreelimesthroughthismotif,t escapesthe patternin measure15to round
oul a iour-measure phrase.This"endingtag"recallsthe bluesscaleseclionoi the main
r ff (measure5, beats3 4), harmonizedin maiorthirds.
Structurally, "StackedActors"is a marked
departurelrom ihe Foo Fighters,previ-
ous compositionaliorays.Here,the band opts in iavor of s mplicityof form and straight
'epetition.

O 19SSEM V RG N SONGS INC M J TWELVEMUSC FLYNG EARFOBT,4 N,tUSlC and LtVtNGLJNOER A FOCK MUSC
A F l r r l s C o n t r oe d a n dA d m n s l e r € bd y E l , l V B G | NS O N C St.N C
A B g 1 s F . s e r v e n n t e , . a t o n aC o o y r q ' rS: e c u r e c U s e db v p e r m s s o r
51
Oropn tuning:
A-A-D-G-BE
Q

o Gtr.4
Gtr.1
meas.12-35
meas.36-43
Fig.2l

O=" @=' iilfri


ffi
o
@=" @=^
@-c @=Ar
Intro
l'ast.l = 136
Moderately
N.C.

2.

2.

:[i,,L=--- i,..-- t- t
w/ delay @ r2n n\, high rE!flernion \ehmg

i Key rsnduc dei.6 A Donan.

52
Am7 Dadd4 E ' D C

I On-l) in)ourmirror )ou R Lom.in8 in (lcd. tine with somqwbercin be tween.

ny^-==---

Dadd4 ArnT E b D C

l,+,r r I -- l
l m im prcsscd. beau ti ful chest.- I nev er meanlto nake a big
2. God bless. ycah but rhin8stuen1 al wayswhattheyseen.

24 EbDC

WilL you re-sign 10 thc la1 est de si8.?- You look so mes sy when you dre\s up in drearns.
Your tear y eye!. your fa'mousdis - guise, nev ef know ing wbo ro be lieve.-

2A Eb DC

One nore for hire d? I think il's tine we all shouldcome


See rhrough. yeah. when you re just an oth er an cient drag
Dlddl E'lA D/A C/A

Liue up the bas ldds. all t want is the truth _ Hey.

1 cho.d synbd\ rcfled .oftbined tonrri!-

G6 r & 2: sr Rill A, l ! rime

N.C.

cJn )ou fake C a n) o u m , k e ir Het. he!.

can yoD rake L!? And we cri- qhen !he) alL die

Figure 22 - hterlude, Guitar Solo

The poslchorus interludeutilizesa variattonon the main riff,blendingit with ete-


ments of the clean verse phrase.The notes of the one-measuremolif (A-C-D) are
from A minor pentatonic.lt goes "blues"al the end of measure4 with lhe added Eb
(flattedfifth).
The guitarsolo,strangelyenough,is exactlythatl Herethe lead guitarstepsup 10
the iorelrontwith a lick-basedgrunge-rockplayingstyle.Well, actuallylwo lead guitars
stepup here,looselyrecallingthe busy,improvisational stylingsof BlackSabbathguitarist
Tonylommi(whooflen doubleand triple-tracked solos).By playingslightlyditterentthings

54
w th each pass, a blufty collageis crealed,seeminglymovingin severalditferentdtrec_
I ons ai once and somewhatobscuringeach guitarwith the other_a somewhatpsyche_
delrcexperience.The main lead guitarhere seemsto be thal of qlitar 5, so this is what
Ie willconceTtrale on.
It beginsin measure5 wilh a seriesof vibratoed, hali_stepbendspushingFf
(majorsixth)up to G (minorseventh),suggestingthe rnodalityot A Dorian.Measure7
"box 1"-the then
risesintoA minorpenlatonic hallmarkpositionfor rock'n,rollquitarticks.
Measure8 continues the climbuntitsetilinguponthe obtiquedyadbendsoibeats S_+.
Herethe lowerD noie(fourth)is pushedup one halfstepio Et (itatted fifth)whilesrmut_
laneously soundlng the second-stringG note(minorsevenlh). Normay, ihisobliquebend
s playedwith a fullstep bend brtngingit to a more stablec-E (fifth_rninor seventh)dyad,
but tensionand atlituderule here,and the bendis leftto hangout,,lnthe wind,,wrthout
achieving full resolution.
I\,4easures g-12 continueto harp on that same gritty,,,uncompleted'
dvad beno.,n
measure10,thepickalackslallintoa slaggered, quarter-note kiplelrhythm.Thisappears
agarnin beals3-4 of rneasure11. Slidesup and backdownthe neckfill out the end of
measure12 and mark the halfwaypoiniof the solo.
l\,4easure l3launchesa newmotifin ihe tormof a descending, dialonicscalErr
pas-
sage.The notesA-G-F|-E (root-minorseventh sixth-fifth),in a mrnorcontext.soe out
the A Dorianmode.ftreasures 17-18harkenbackto ihe samemotrlbut de|veriiwtth a
different rhythmic interpretalion.
Measure19 recallsihe previous obtiquebendingbarrage
n a shorirecap,and Glr.5 is out one measure(measure 20) belorethe naiuralonrase
engthof the solois compleled.

0 Gtr 1 meas 5-20

+= ,+
^-=-'---
z 1-
- +
BREAKOUT
Words and Music by Davecrohl, NateMendeland TaytorHawkins

Figure23 - Verse,Chorus,Interlude

The secondtrack,"Breakout;'isa tight,lasfmovingpost-punkepic aboutthe


inleractionbetweenloveandskinproblems. Returning to themorestandardFooFighiers'
arangementapproach, it bearssomesimitarity to ,Thisls a Call',in thatit opensdirecy
intothe versewithonlyguitarandvocals,thenbuildsquicklyintoa powerfulchorus. The
cleanguitarandstrumming approach is alsointacthere.
Glr.1 opensthe tunewitha cleantoneandprominent llangeeffect.As withpre-
viousstrumming-based songsin thjs collection, just go lor the appropriate skingareas
(higher, middle,or lowerstrings)anddon'tworryexcessively abouthittingeachstringpre-
ciselyas notated. Thepickingshouldbe down,down/up, up/down/up. Theessenceof the
progression is B-E-{n-C, or l-lv-ll-rll. The firstthreechordsare essentiallv from B
major.The surprisechordis C, whichis a tritonesubstitution (C actsin otaceof the V
chord,F!. in resolving backto thetonrc).Exka-colortonesareacdedto lhe progression
with the use of open E and B slrings.Addingan open E into the I chord gives
us Badd4;an openB in the C{ chordproducesC{7;andan openB in the C chordpro-
ducesCmai7.
lhe choruskicksin quicklyat measure17.A pivotingB5-G5-85-E5paflern
(i-,Vl-i-lV) efiectivelyshiftsthe majortonalityto thatof theparallelminorkey(dueto the
strongpresenceof G5). Measures21-24 sit on G5 even harderwjth a fasfmoving
G5-A5-Em-A5progression, playedtwice.Noticehowthe lop threestringsof the c5
chord,superimposed overan E5 base,becomeEm7in measwes22 and24.
Thebridgereturnsusto thetamiliar territoryof B,butlisten{orthegenerally dark-
er, minorqualityhere.The Emchordarpeggiated in measures 27-29 by Gtr.2 suggests
a B minortonaliryas doesGtr.4'sprominent useof G (minorsixth)in itsmelodylinewith-
in lhe samemeasures. Overthe B itself,however, no thirdis present,so it is ambiguous
as to its major/minor stalus.
"Breakoutis playedin
standardtuning.

StanoarO
tuninO:
E-A-D-G-B-E
@

0 Glr 1 m e a s1. 1 6

Fig. 23
0 Gir. 1
Glr.4
meas.l-8

meas.25-28
Mod€ratelyFastt = 157
' B Brdd4 B cl'7 CmajT

ning cir cles

{ Kc} sisnaruredeiorcs B Mixotydiaf

O I 999 EMI VIRGINSONGS INC , M J TWELVEMUS C, FLytNG EARFORMMUSTCa.d L|VTNGUNDERA BOCK MUSTC
_- A I cigils Colro tad rro Ad-i.,ster6d bv LV VrFCt\ SONGS.tNC.
att AIFights Besetoed IntemaloratCopyfghi Secured Us€dbypemisson
" "oooo B E5 cl
.- " c*7

@klsee days-
l= ! --J-f
"W==4i4==++-d=!e=+_+-
l'll_ chase you dosn.
wel
9- ,"B Badd,+ B H5

so ins zl no* - were ince-


",,,,,;:::,lt' ,o face ml rricnd.

E=* -:tr =E#Z=====


e+-+a3===r
- - - : l . l l j | g

ClnajT

f=p3==ggffppe+=E**=
Cho.us
,a t*
B5
t#fr-.--
.it
You Inou rou make ne brcrk
"""i.,t,]
reHF{*=lTTlaA-=== -s*'

G5 A5 85

a=3j'r.-.-=----{--=I=
B5

60
Figure 24 - Bridge,Verse, Pre-cho.us

The bridgebuildson the interludeprogression. However,the B chordturns decid-


edJymajor with p.ominentD4sin both the vocal metodyand Glr.4,s singte-noteaccom-
paniment.Thiscausesa schizophrenic tonalitysituatjon,as the overallkeycontinuallyllips
backand forthfrom B major(atthe B chords)to B minor(at the Em chords)with eachtwo_
measureseclion. A shortdouble-timepartbuildsthe energylhroughmeasures 9_12,only
lo fall back intothe verseprogression,or measures.j3-17.
Ihe verse continuesat measure 'jB with a new accomDaniment pattern that
cranksthe dynamiclevelbackup a notch.Herewe see tightpalm muteswith jnterspersed
chord accents-generallythe provinceof the harder-edgedstyles of metal.Cover ihe
endsol the siringslightlywilh the "heel;'or fleshypart of your pickinghandas you pickto
create the muffled,bass-heavy"thunk,,oi the palm muies.Then litt Vour hand off the
strings1ohit the chordsfully un-muted.Youmay prckeitheralt downstoi.esor trv ,'accent
pickingin which all the mutes are playedas downstrokesand all the chord accenlsas
upstrokes. This can help lhe chordsstandout mofe from the mulednotes.

e
Itridge
e Glr 2
G l r .2
meas.9-12
meas.21-28

c6.l &l:srRhr lilr I \imne


B Badd,t

Brdd4

:- t1- €F.' - I
and I I
DoublFTime Fe€l

GJ

py - nill

End Double.TimeFeel
Gk.l: q/Rhy Fig r.2lnncs.n,nih
E5 B Badd,l B

B Badd4
Badd4

days fll -

62
B7sus4N.C B7sus4

Buo ing in the blast off.

N,C. c{ N.c.

85,tsN.C. BTsus,lN.C.

Try to get You know you make me break


LEARN TO FLY
Words and Music by Oave Grohl, Nate Mendel and Taylor Hawkins

Figu.e 25 - Intro, Verse,Chorus


''Learn
to Fly"containsalmostall of the signatureFoo Fightefselements_andit's
just a greatsongto boot.Basedin theirpreferredkeyof B, the songopenswith a B
Ff_E
(l-V-lV) progression,suggestinga majortonality.Open B and E stringsadd colorto the
chords,and a strummingapproachdominates.The memorableand eminenflysingaore
melodyis playedin octaves.Over B, it simplyreinforcesthe root (B) in the same rhythm
as the underlyingchords.Over Flm11,the melodyline risesto Cf, the secondstepol the
B major scaleand the fifth in relationto the F# chord.In the secondhalf of measure2,
however,we see the Foo Fighters'characteristic clashingof majorand minortonalities.In
this majorsetling,the oclave Cls are bent up a half step to D nalural_the third step of
lhe B minorscale.Listenfor the tensional this poini.Also,take care to bend each srina
approximately the same amount-it will take slighflymore strengthto bendthe lifth string
up tne sameamountas the thjrd.Over E, the melodystrikesC$octaves(majorsixth)and
slidesbackto B, the fifth in relationto the underlyingE chord.
The verse lets the dynamicleveldrop.Rollbackthe volumeknob on your guitar
to clean up the soundlor the arpeggiatedchords.This is the same progressionas used
in the intro (Bsus2 Ffml1-E5); the interpretation is just differenthere.
The chorususesthe strummingversionofthe progression-likethe introbut with-
out Gh. 1's octavemelody.After three times,a qujckjaunt to c_A (tvl_tvll) temporarily
implieslhe parallelminortonalityand closesout the chorus.A short instrumentalinter_
lude is nexl, recallingthe always-satisfying intro melodyphrase.

0 Glr I
Gtr.2
meas.1-8
meas.9-38

Fis.25 e Glr 2 meas.9-12


Glr.2 moas.23-28
Gtr.2 meas.37,38
Nloderatelxl ast Rock, = 136
ct l(disr.) Bsus'l Ffmll

r Gr\ l& I (dl{r Rhy,rj*,r


I

*r=rhumbon@

@J999EM V RGINSONGSINC,,M J TWELVE MUSICFLY]NG EARFORM MUSC ANdLIVINGUNDERA FOCKMUSIC


^. a t q i g h r cj o r . r o t r eadr oA d m r l s . e r eodvF M t v t q c t Ns o N c s t N c .
At RightsBaseryad Inte.aahorat Coplrafi s-cLred trcedov permreeon
Bsus.+ Flml1

Bsus2

L Run aDd rell

e-3- - - l I
J .
'h, .^- d
t^"
)
.Jle
)
,)
.1
",'
\
. _ t Fj r
.*i---I
..

I
c:.:si . tu-a

Bsusl F{mll

Bsus2

laugh ing and la\r

Gr .r */ F r 2,2nd&ndtmes,\inile
Flml1
Flml l

look in 'cause
I m ti.ed " lli,

home_ when I ledn to

3e, , Bsus:l

itrbtrE--E"=
F$mtI E5

43 Bsus.l

* + Flm1l
LIVE.IN SKIN
lvords and Music by Dave Grohl, Nate Mendel and Taylor Hawkins

Figurc 26 - Intro,Ve6e, Chorus


"Live-lnSkin"is
an easygoing,'tolling"kindof ritfwitha strongmajor-keybasethat
keeps thangsbrightand majestic.Rhythmically, the main ritl uses straighleighth notes
arrangedin repeatinggroupsof three.This causesthe notesto'lumble" overthe beat-
fallingagainstthe underlyingpulseditferentlyupon each repetition.For example,the first
lhree-notegroup is low D, G, then octaveD. The second group consistsot low D, Ff,
octaveD. Noticethat the low D, however,enterson an upbeatinsteadof a downbeat,as
it did in the first group.Pitch-wise,if we lookjust at the movingtones and omit the low D
and its higheroctavefor a moment(theyfunctionessentiallyas drones),we can see G
(fourth)fallingto Fl (maiorthird),then E (majorsecond),and finally leadingupwardto
resolveto the octaveD via Cf (maiorseventh).
As you practicethis, keepingaccuratecount of the repetitionsis a real concern,
mademore difficultwithoutvocals.Listenlor the cue spot as the drummerchangesfrom
cymbalcrashesto the hi-hal.That marksthe beginningof the verse (measure15). From
that point,simplycount eight ritfs.The last one closeson beat 4, creatinga short break
beforeheadingintothe chorus.
The chorus p.ogression is D5-C5-D5-G/8, lhen Ds-Gm/Bb C5 c5. This
amountsto a Mixolydianmodality(contrastingthe previousCls with C natural),with a
momentof parallelminor interferenceat the Gm/Bb(iv) chord. ll you examinethe bass
noteof each chord,you'llfind chromatictonesbetweenC5, c/8, and cm/Bt. AlthoughD5
powerchordsinleruene,this chromaticmotionis not lost.
Now let'sconsiderthe supportingoctavesplayedby ctr. 1. Over D5, we haveF*s
(majorthirds).Thiscolorsthe D5 powerchordmajor.Atteratemporarydip to E (majorsec-
ond) and backup. it leadsintothe nextmeasure--overCs-to c (fifth).Thistwo-measure
melodyis then repeatedoverthe lollowingD5-G/8, as the same G works nicelyon top ot
G/B as well, and then againoverthe ne)itDs-Gm/Bb.This makeslor an interestingsitua-
tion,as you may not initiallynoticewhereexactlythe "Gm"chordcomesfrom.Glr.2 plays
the major third intervalBb-D and Gtr. 1 adds Gs on top of that.Takentogether,Bb D G
addsup to a G minortriadin lirst inversion.A temporarydip to F late in measure36 reca s
the previousmotil over D5, where Ff................
tempora.ydippedone whole stepto E.
The linal two measuresof the chorus(measures37-38) simplyhaveGtr.1 adding
fifthsover C5 and G5 chords.The fifth of C is a G, and the fifth of G is a D.Also.notethe
F[ passingtone (raisedfourlh) in measure37 and lhe similaraugmentedfourthsin ctr.
2's final momentsof measure38. An expansivereturnto the brightnessof D majorawaits
uDonthe comoletionof the chorus.

@ 1999EMIVIRGINSONGS NC M J TWELVEMUSIC.FLYNG EARFoRMMUSICand LIVTNG UNDEFA FOCKMUSIC


ArrRighlsconrrcredandAdmi.isreredby EM VtFG|NSONGS,tNC
68 Al B qhls Reserued InlemationaCopynghlSecurcd Usedby Permission
DropD tuning:D-A-D-G-B-E

Fig. 26

D5
i+h'
Dsus2
'nih{
I Grr.2 meas.3-42

O=. @="
@=B @=A
@=. @='
ffi ffi
0 Glr.2
Gtr.2
meas,29-30
meas 31-3a
Intm
Mode.at€ly
,J = l19
Dsus2 cr t:q/Rhy Fi3 l.6rnes,sjn e
Gtr I Glilhr dK ) Rhr. lig- I

E5 D5 E5 D5 D5 E5 D5

E5 D5

GE. l: B/ Rb Fis, I l/2 rmes

cr r s/tuflAl.:t l/2 lns


Dsus2 E5 D5 E5 D5 E5 D5 E5 D5

ligbr-

E5 D5 E5 D5
D5 D5

n n
if you

Dsus2 E5 D5 E5 D5 E5 D5 E5 D5

)ou ll n(\ er rell

D5 E5 D5 E5 D5
---:\

70
D5

( i r L . 2 & 1 :$ / R f t s A & A r . I r m e s
E5 D5 E5 D5 Dsus2 85 D5 E5 D5

2. Just rhe

#*=- -
F-
Figure27 - Bridge

The bridgeof "Live-lnSkin'is basically a variationon the chorusprogression. lt


uses the same rhylhmicidea {onstant eighth notes with essentiallyone measureper
chord.Also,the first chordalwaysstartson the downbeatol 1 and the secondchordone
half-beatsooner (on the upbeatof 4 of its precedingmeasure).Also, the chordsthem-
selvesmifior the chorus.The differenceis that here lhey havebeen pushedfully into the
parallelminor key (D minor) lo become Ds-B;-D5-B,, then D5-BI,-C5-G5. In other
wordsthe C5. G B a.d Gm/Bhavesimplybeenreplaced by the B' (tvl) chords
Finally,short eighth-noteaccenlsare playedthroughouton oclaveA6 otteringan
addilionaltexturalelement.ln terms ot overallharmony,this addsa fifth to the D5 chords,
a majorseventhlo lhe B, chords,a maiorsixlh lo the C5 chords,and a ninihlo the
G5 chords.

0
Fig.2'7
Bridge
Bt5 D5
o

G5
._--

72
EEST CIF

Aone + Easy Target

Big Me

Breakout

Ewerlong

Hey, Johnny Park!

l'll Stick Around

Learn to Fly

Liwe-ln Skin

Monkey Wrench

My Hero

Stacked Actors

This ls a Gall

rr $.e5.cDs10.o=Pkg tllg.S
ta1s not sok separately

IS3\ 0-Llq-01'r?0-L
EilI TUSIC PUBLISI{ING

I]ililil1fil
o "73999'4775A'- o
ZjF-HALoLEoNARo.