in deep reggae and funk columns

7/31/2019 In DEEP Reggae and Funk Columns

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CONTENTS

IN DEEP: BOB MARLEY

FIG. 1: BASIC REGGAE RHYTHM

FIG. 2: COMBINING DIFFERENT CHORD VOICINGS WITH DEADSTRING ACCENTS

FIG. 3: BASIC REGGAE CHORD PROGRESSION

FIG. 4: USING ECHO TO CREATE A DUB EFFECT

FIGS. 5 & 6: ONE LOVESTYLE RHYTHMS

FIGS. 7A & B: WAITING IN VAINSTYLE RHYTHMS

FIG. 8: SOLOING LA WAITING IN VAIN

FIG. 9: I SHOT THE SHERIFFSTYLE RHYTHM

FIG. 10: NO WOMAN, NO CRYSTYLE RHYTHM

FIG. 11: SOLOING LA NO WOMAN, NO CRY

IN DEEP: FUNK

FIG. 1: BASIC FUNKSTYLE RHYTHM

FIG. 2: SYNCOPATED CHORDAL ACCENTS ONLY

FIG. 3: DEADSTRING ACCENTS ONLY

FIG. 4: SYNCOPATED DEADSTRING ACCENTS

FIG. 5: 9th-CHORD SYNCOPATED RHYTHMS

FIG. 6: ADDING BASS RIFFS TO RHYTHM PARTS

FIG. 7: 13thCHORD SYNCOPATED RHYTHMS WITH RIFFS

FIG. 8: MINORCHORD SYNCOPATED RHYTHMS WITH RIFFS

FIG. 9: DOUBLING THE BASS LINE

FIG. 10: ADDING A COUNTER BASS LINE

FIG. 11: SLIDING MIXOLYDIAN SIXTHS


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RASTA VIBRATIONReggae guitar and the music of Bob Marley

*IN DEEPcolumns

FIGURE 1 = 148 ( = 74)

Bm

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FIGURE 2 = 148 ( = 74)

Bm

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FIGURE 3 = 148 ( = 74)

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FIGURE 4 = 148 ( = 74)

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echo repeats

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1/2

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3 3

FIGURE 5 = 148 ( = 74)

B(repeat prev.beat)

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FIGURE 6 = 148 ( = 74)

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FIGURE 7a = 152 ( = 76)

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FIGURE 7b = 152 ( = 76)

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11 910 8

BY ANDY ALE DORT

When BoB Marley

brought the Jamaican sounds

of reggae to the .S. in the

early Seventies, he created a musical

revolution. His first to sland ecords

releases, Catch a Fire and Burnin(both

issued in 1973), included the hits Stir it

p, et p, Stand p and the mega-

smash Shot the Sheriff, hich hen

covered in 1974 by Eric Clapton helped

catapult Marley to international acclaim.

Folloing 1974sNatty Dread (including

No woman, No Cry), 1976sRastaman

Vibration and 1977s Exodus (featuring

ne ove), Marley as firmly estab-

lished as one of the biggest pop stars in

the orld. his edition ofIn Deep exam-

ines the basics of the reggae guitar style

as ell 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. hese elements are precisely fit

together in the musical arrangements.

n terms of the guitar ork, one guitaroften plays a scratchy rhythm part

like a percussion instrument, such as a

ashboard, snare drum or maracas

hile another guitar provides a lo,

single-note melodic line that is sim-

ilar to but differs from the bass line.

n sharp contrast to many styles of

music, in reggae the bass often provides

melodic content hile the guitars lay a

solid rhythmic grid underneath.

ets start ith 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 ith a Bm chord voiced on the

top four strings. he strumming pat-

tern is steady 16th notescount NE-

ee-and-a, w-ee-and-a, etc.and the

chord accents are placed on the eighth-

note upbeat of each beat. lso, release

fret-hand finger pressure beteen the

chord accents to make them sound as

staccato (short and crisp) as possible.

great ay to make a static rhythm

part like this more interesting and

musical is to move to different voicings

OnDisc


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110 u

*IN DEEPcolumns

FIGURE 8 = 152 ( = 76)

A maj7

6 86 88 10 10

8 10

D maj7

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1

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A maj7

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9

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3 3 3 3 3 3 3 3 3 3

FIGURE 9 = 88 Triplet feel ( )

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1., 2., 3.(repeat prev. bar)

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FIGURE 10 = 82

let ring

C

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FIGURE 11 = 82

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of the same chord (in this case, Bm)

while maintaining the steady rhythm.

s shown in FIGURE 2, move p from

seventh to 10th to 14th and 19th posi-tions, and then back down. Notice that

a sbtle melody is allded to as the

highest note in each voicing moves p

and down the fretboard.

Now lets apply this approach to a

standard reggae-style chord progression,

as demonstrated in FIGURE 3. n this

example, one bar of the (one) chord,

Bm, is followed by two beats of the fV

(flatted seventh) chord, , and two beats

of the minor iv (for) chord, Em. his

part is made most effective by alternat-

ing between a light toch on the mted

string strms and a sharp, harder attack

on the chord accents.

t the end ofFIGURE 3, play eighth-

note triplets in a staccato fashion to

emlate the sond of an echo effect, one

of the common signal enhancements

sed in reggae gitar. lso sed often

are wah pedals and phase shifters. n

FIGURE 4, se an analog delay pedal

(an MX Carbon Copy) to provide the

eighth-note triplet effect, along with an

MX Phase 90, which changes the sonic

textre as the part progresses.

Marleys classic hit, ne ove, fea-

tres rhythm gitar parts dring the

chors and verse sections that are sim-ilar in exection to the previos exam-

ples. FIGURE 5 illstrates a similar part

played within a chord progression bilt

from the , V and V chords in the key of

Bf: Bf, Ef and F. FIGURE 6 adds the rela-

tive minor chord, m, to the mix.

nother great example of this strm-

ming techniqe is Marleys aiting

in Vain, which consistently alternates

between the chord in f, fmaj7, and

the V chord, fmaj7. FIGURE 7a offers

a part along these lines.

aiting in Vain featres a melodic

gitar solo, as do other Marley hits,

sch as ne ove and Stir t up.FIGURE 8 illstrates a solo along the

lines of that heard in aiting in Vain,

based primarily on f major pentatonic

(f Bf C Ef F). Shot the Sheriff is

bilt from similar rhythm techniqes,

bt with more complex syncopations,

akin to FIGURE 9.

FIGURE 10 offers chord arpeggiations

like those heard on No oman, No

Cry, and FIGURE 11 depicts an accom-

panying solo based on C major penta-

tonic (C E ).

OnDisc


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