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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
XXX
XXX
9777
9777
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XXX
9777
XXX
XXX
9777
9777
FIGURE 2 = 148 ( = 74)
Bm
XXX
XXX
9777
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XXX
9777
9777
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9777
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9777
9777
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9777
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12111210
12111210
XXX
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12111210
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12111210
sim.
XXX
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161514
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161514
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191919
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XXX 11
1210
111210
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XXX 11
1210
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XXX 4
32
432
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XXX 4
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XXX 4
32
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FIGURE 3 = 148 ( = 74)
Th
Bm
7
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Th
sim.A
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5
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Em
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Bm
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7 97
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A
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119
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Em
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14121212
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3
Bm
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161514
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111210
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111210
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FIGURE 4 = 148 ( = 74)
Th
w/phaserBm
7
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9777
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9777
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777
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777
3A
7655
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Em7
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echo repeats
79787
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Bm
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7 97
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1/2
9 79
7 57
3 3
FIGURE 5 = 148 ( = 74)
B(repeat prev.beat)
XX
X
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X
88
766
F
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X
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E B
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FIGURE 6 = 148 ( = 74)
B
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8766
Gm
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5333
E
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6888
B
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B
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Gm
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5333
E F
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6888
B
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8101010
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8766
FIGURE 7a = 152 ( = 76)
A maj7
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6543
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sim.D maj7
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FIGURE 7b = 152 ( = 76)
A maj7sim.
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46564
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1110888
1110888
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1110888
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1110888
1110888
D maj7
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111098
111098
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111098 8
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
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110 u
*IN DEEPcolumns
FIGURE 8 = 152 ( = 76)
A maj7
6 86 88 10 10
8 10
D maj7
9 11
1
11 11 11 9 9 910
A maj7
8 9 10 11 11 9 8 9 811 9 11
3 3
D maj71
1 1 1 1 9 1 1 910 10
9
A maj7
1316
1
1316
1
1315
D maj7
1 5 13 1 5 1 5 13 1 3 1 5 13 1 3 1 3
15
3 3
A maj7
1315
1315131513
1513151315
1315
1316
D maj7
1316
13
1
16 1 6 1 6 1 3
1
131316
15
A maj7
15 1315 13
3 3 3 3 3 3 3 3 3 3
FIGURE 9 = 88 Triplet feel ( )
w/wahGm
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Cm
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Gm
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1., 2., 3.(repeat prev. bar)
E maj7
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Dm
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5343
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4.Gm
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5
3 5
3 5 3 3
3 5
5 3
5 3 1 3 5 1 3 3
FIGURE 10 = 82
let ring
C
35 5
55
G/B Am
25
43
0 02
21
Th
F
1
321
C
3 53 3
5 555
F C
10
10
9
8
7
6
5
5
5
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G
5 75
3 52
3
FIGURE 11 = 82
Cw/phaser
1210 10
G/B
13
1412 14
13
1Am
15 1 5 13 13 13
F
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1
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C
13 13 13 1588 10
F
87 9
88
C
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9 710
3
( )10
1012
G
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10 141412
C
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1
7 7 57
5
1
7
55
Am
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5
1/2
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F
5 55
57 5
77 5
7 5
C
3 5
F1/2
75
77 7 5
C
9
88
1
10 10 8
G
910
7 57 5
C
5 7 5 57
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 ).
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