rory gallagher - great riffs

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R ory Callagher began playing guitar back in County Donegal in his native Ireland at age nine and when he was 15 he joined the Fonlana showband and then later on another showband called Impact. His first major international success howevH was in 1966 with the band Taste, who recorded two albums ' Taste' - 1969 and 'On The Boards' - 1970. The band reached their peak at the now legendary 1970 Isle of Wight festiva l - where they shared the bill with Jim; Hendrix and Free. Taste split up in 1971 and (rom that point right up until his tragic deat h in June 1995 at the age of 46 Rory followed his own very successful solo career during which he recorded around 14 albums wi th combined sales in excess of 30 million copiesl In terms of style Rory coveHd more or less cvery bl ues approach imaginable ~ acoustic blues, Chicago blues, ragtime, folk blues , bott lenec.k blues , Texas blues, boogie woogie, Miss issipp i Delta bl ues, Louisiana swamp blues , Appalachian blues, modern blues and blues rockl As well as all of these styles there were also Performance Notes G: Rory Gallagher elements of both Irish traditional music and jan in his approach, particularly regarding his rhythmic phrasing which was often very inventive and instantly recognisable as being his own ... In t his month's examples we will unfortunately only scratch the surface by looking at his blues/rock approaches ~ you would however, be well advisd to chec k out his albums to hear what a trul y versat ile, inspiring and creative player he really was. Have fun!... Ex 1 Blister On The Moon - .ntro section This chordbased intro is made up of three different sections. The first of these in b a ~ O.a contains a simple E DIE passage ~ as yoo play this make sure you observe the muti ng indications that appear on the last two 16th notes of bars 2, 4, 6 & 8 these are vital to the 'feel' of the part. The second section found in bars 9-12 features an E - G C - 0 progression that is played in a manner which is actually very remi ni scent of the sort of rhythm style Kurt Cobain used in Nirvana some 20 odd years later! Once again. watch out for the ~ --muted chords during this seclion. The third section in bars 13-20 rounds the part off with three different two bar phrases comprising a couple of II. note chord ' hits' followed by wah wah fills that last for a bar and a half each. After playing through Ihese as written try comi ng up with some similar ideas of YOUT own that also last for the same duration ~ having a sel spau 10 practise fills can often be a very beneficial way of working on your phrasing. Gt.l DIE Glr2 Double. Girl - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - -- - - - - - - - --~ ~ ( V ) ~ V elc G: Rory Gallagher , , " , " GIf 1 Gtr2 -" "" fJ-"" .1:': -. , 0 co 6U co "" E5 N.C. (Iill) ESJ j" "" '0 , - leI ring 00 eo N. C.(lill) ESJ )l 1 -,-. "" Ex 2 What's Going On - .ntro/verse Whats Going On is one of the best known and most popular Taste tracks. The intro and verse as shown here has an almost latin (eel to it - notice how the accents fall on I , 2 &. 4 in bar I and I, 3 &. 4 in bar 2. To make t hings even more tricky each accent marks the start of a short hammer-onlpull-off phrase - is ., --"''- --"'--this ornamentati on perhaps a little of RaTy's Irish influence creeping in? Anyway, you may need to practise this slowly along with either a drum machine or a metronome in order to get it 'tight', Also, anot her thing to look out for is the 3/4 bar that occurs at bar 7 which can easily catch you unawaresl o --,.U .... ' Gttl ..... y - - -- - - - - - - - - - - - --2nd .. ),d 0 ... , .. 2 "'HPO "'HPO "'HPO Gt,1 &2toend -- - - - - - - - - - - -- - --I "'H PO co co -, + , , " , .. ' N.C. VEIISE " HPO HPO " , . o (1111) Ex 3 Same O.d Story Verse Rory's music was fu ll of great grooves and this R&B flavoured idea is certainly no except ion. Notice as you li sten to either the original or the OTCD version how space is left at the end of each two bar phrase to allow the bass to come through -this is a good arranging device and certainly helps to create a li ttle extra listener interes t. As you play this one you should aim for a fairly relaxed feel - irs easy to accidentally rush it -bewarel : ory .a ag lcr J =- 147 I_I ., w ror ? ? ? ? ? -"''' -" 00 co 00 " 00 00 00 , -0- 0 , ror ? ? ' ? ' ? ? , " CO CO 00 " 00 00 00 0 , , , , " ) J > '3lI > " " . ? ? ", ", ." 00 00 ,- "" ,; ,; +--4 00 " CO CO " 110 , , , , ' " IFI .... .. , - ' . Ex 4 MornIng Sun - MaIn repeat rl" figure In common wi th Ex 2, this is another riff that to my ears has a along with it, keeping it in time throughout - it's actually certain 'Irish' flavour to it - perhaps it's all those 16th note quite hard not to accidentally rush as you play the hammerons triplets? Notice how (aiter the pickup bar) the main repeati ng and pull offs - so take carel riff starts up which is repeated 12 times in a rowl Try playing J = fOO 10.001 w I" , l' '", --"-eo 00 " eo -. -L-, , N. C. N. C. .. N. C. G: Hory Gallagher N.C. .. N.C. 10 . .... Ex IS Messln' WIth The KId (1.lve Ver.'on} Intro/verse Thi s uptempo blues/rock styl e