Steve Morse-Just the Riffs

7/13/2019 Steve Morse-Just the Riffs

1/33


2/33

4 I c e C a k e s4 P u n k S a n d w i c h5 C r u i s e C o n t r o l

6 G e n e r a l L e e6 C o u n t r y C o l o r s8 T h i r d P o w e r9 E n d l e s s W a v e s

10 C u t T o T h e C h a s e11 S i m p l e S i m o n12 S l e a z e F a c t o r12 B a t t i e L i n e s

14 S o u t h e r n S t e e l15 W e e k e n d 0 v e r d r i v e16 U s e r F r i e n d I y16 G e t I t i n W r i t i n g

17 R u n a w a y T r a i n1 9 0 Ve r E a s y20 C a I c u t t a20 P 0m p 0u s C i r c u m s t a n c e s

21 S l e e v e l e s s I n S e a t t l e22 G o o d i n t e n t i o n s23 I o n i z e d

G d T G


3/33

c t e n t l y d e l i v e r e d s o m e o f t h e m o s t i n s p i r e dp e r f o r m a n c e s a n d c o m p o s i t i o n s i n a r o c k e n s e m b l e , p u s h i n g t h e e n v e -

l o p e i n t h e e v e r - b r o a d e n i n g c a t e g o r y o f i n s t r u m e n t a l r o c k w i t h h i s

v i r t u o s i t y a n d e c l e c t i c i s m . W h e t h e r e m b r a c i n g t h e s t y l e s o f r o c k ,

b l u e s , b l u e g r a s s , c o u n t r y , j a z z o r c l a s s i c a l i n h i s w o r k w i t h t h e D i x i eD r e g s o r t h e S t e v e M o r s e B a n d , o r f u n c t i o n i n g a s a h i r e d g u n t o i g n i t e

t h e r e c o r d e d o u t p u t o f K a n s a s , l y n y r d S k y n y r d a n d T r i u m p h ( a m o n g

m a n y o t h e r s ) , S t e v e M o r s e e m b o d i e s t h e c o n s u m m a t e m u s i c i a n w i t h

h i s c r e a t i v i t y , t a s t e , i n t e l l i g e n c e , i n t e n s i t y a n d o v e r p o w e r i n g

c o m m a n d o f h i s i n s t r u m e n t . H i s e f f o r t s h a v e n o t g o n e u n n o t i c e d ;

h e 's t h e r e c i p i e n t o f m u l t i p l e C r a m m y n o m i n a t i o n s , a n d i s w i n n e r

o f f i v e c o n s e c u t i v e C u i t a r P l a y e r R e a d e r s ' P o l l a w a r d s i n t h e

" B e s t O v e r a l l C U i t a r i s t " c a t e g o r y ( 1 9 8 2 - 8 6 ) , w h i c h a u t o m a t i c a l l y

l e d t o h i s i n d u c t i o n i n t o T h e C u i t a r P l a y e r H a l lO ff a m e . P r e s e n t l y ,

S t e v e 's l e g i o n o f f a n s e a g e r l y a w a i t s h i s r e c o r d i n g d e b u t w i t h t h e

l e g e n d a r y D e e p P u r p l e .

I n c l u d e d h e r e a r e S t e v e 's b e s t r i f f s - e v e r y t h i n g f r o m t h e b l i s t e r i n g

s i n g l e - n o t e e n s e m b l e f i g u r e s t o b r i l l i a n t l y o r c h e s t r a t e d p o l y p h o n i c

i d e a s t h a t s h o w c a s e h i s v i r t u o s i t y . Y o u 'l l a l s o f i n d e x c e r p t s f r o m h i s

m o s t i n t e n s e i m p r o v i s a t i o n s a n d h i s s u b t l e , m o r e t e x t u r a l f i n g e r s t y l e

e l e c t r i c a n d c l a s s i c a l g u i t a r r i f f s - e l a c t l y a s S t e v e p l a y e d t h e m o n

t h e r e c o r t ! .A v i r t u a l f e a s t o f g u i t a r t e c h n i q u e s a t y o u r f i n g e r t i p s !

S t u d y t h e m p a t i e n t l y . R e m e m b e r : S t e v e i s o n e o f t h e b e s t p i c k e r s o n

t h e p l a n e t . M a k e t h e s e m u s i c a l e x a m p l e s w o r k f o r y o u i n a s m a n y w a y s

a s y o u c a n , u s i n g t h e m a s i n s p i r a t i o n f o r y o u r o w n c r e a t i v e w o r k .

I n S t e v e 's o w n w o r d s : " I f s o m e b o d y i s i n f l u e n c e d i n a n y d i r e c t i o u - i f

t h e y t r a n s c r i b e s o m e t h i n g , t h a t 's g r e a t . I t ' s a g r e a t c o m p l i m e n t t h a t

s o m e b o d y w o u l d l i k e i t e n o u g h t o w a n t t o l e a r n t o p l a y i t . B u t t h e b e s t

t h i n g w o u l d b e f o r p e o p l e t o b e i n f l u e n c e d b y t h e d i r e c t i o n , t h e

a t t i t u d e , a n d t h e c h o i c e s t h a t s o m e o n e h a s m a d e . "


4/33

I C E C A K E S

f r o m W H A T I FCopyright 1976 by Unichappell Music Inc, and Dregs Music Company

This Arrangement Copyright 1986 by Unichappell Music Inc, and Dregs Music Company

International Copyright Secured All Rights Reserved

Chromatic ClimaxAt the peak of this guitar solo Steve kicks it in high gear with these 16th-note triplet figures, each of which consists of threechromatic pitches grouped along one string (played with your 1st, 2nd and 3rd fingers in succession). In each of these note

groupings, the first and last notes of the triplet are a whole step apart (two frets) and are consistently from the Bb penta-

tonic minor scale (BbDb Eb F Ab), while the middle notes act as chromatic passing tones. This embellishment concept can

be used to add chromaticism to the pentatonic scale at any point where two notes are separated by a whole step. In the Be

pentatonic minor scale, whole steps occur between Db (b3)and Eb(4), Eb (4) and F (5), and Ab (b7)and Bb(1).

- 1/2

~

P U N K S A N D W I C Hf r o m N I G H T O F T H E l I V I N G D R E G S

Copyright 1979 by No Exit Music and Dregs Music Company

All Rights Controlled by Unichappell Music Inc,

This Arrangement Copyright 1986 by No Exit Music and Dregs Music Company


A Major SegueThis two-bar riff is played in unison with Steve Davidowski (keyboard), and is used as a segue into Steve's solo. A bluesy effect

is achieved by using a collection of notes drawn from A Mixolydian (A B C# D E F# G) and A pentatonic minor (A C D E G).

, II I

n ~. . . ~...~... i- ~ sl.

"~ A " " "v

" . " "v ~ v ~ ~ v ~ ~~ .


5/33

R U I S E C O N T R O L

f r o m U N S U N G H E R O E Spyright 1976 by Unichappell Music Inc. and Dregs Music Company

s Arrangement Copyright 1986 by Unichappell Music Inc. and Dregs Music Company

ernational Copyright Secured All Rights Reserved

Controlled Compingthis tune Steve effectively assumes two roles-playing the melody and comping. In the opening bars of this tune, heard

ior to the example below, Steve establishes a four-bar chord progression using the chords G7,B b and F,and plays them

a rhythmic manner identical to the comping pattern he uses to complement his melody below. When playing this your-

lf, try experimenting with variations in tone to add contrast between the melody and accompaniment parts-your goal

ould be to try to make this section sound as if it's being played by two different guitars .

F u l l

C t ~b~~

~~~~J----===~-----~-~====~~=~====: ====~

~ F u l l ~h~~~~-

H D. . 0 '1 ( 6 )1 / '4 8

F u l l

~

& @ J - J ~'----.../

H F u l l

./t8 7

! ' \4

B~ F

F u l lF u l l

~~b " ' - - - - ' " ~ ~

'--.-/ ~H H F u l l

F u l l1/2

H H Jt~

F u l l

~


6/33

E N E R A L L E E

f r o m T H E I N T R O D U C T I O Nyright 1984 by Unichappell Music Inc. and Dregs Music Company

Rights Controlled and Administered by Screen Gems-EMI Music Inc.

s Arrangement Copyright 1986 by Unichappell Music Inc. and Dregs Music Company

rnational Copyright Secured All Rights Reserved

Sixth Sensehis example, played fingerstyle on an electric guitar with a clean tone, makes use of double-stopped 3rds, 4ths, and 6ths.

llowing this country blues-style introduction and the main theme, we hear a showcase for the chicken-pickin' prowess

Albert Lee and Steve Morse.

- - 3-Swing feel (n=J j))A

~ + I ' " ~ ~r ' "

, - - - - - - U~r - - - r - -r r r r r1/2

J ./7.- /' I- ~ ~ ~~ ~ --- :: I ~ ~ ~~ '::' ~ . . "v ~ v v

V ~ V ~

O U N T R Y C O L O R Ssic by Steve Morse

pyright 1989 Dregs Music, Inc.

s Arrangement Copyright 1990 Dregs Music, Inc.


f r o m H I G H T E N S I O N W I R E S

Artificial Harmonicshe "plucked harmonics" technique in this passage was used on occasion by Chet Atkins decades ago, and eventually per-

cted and made popular by the late Lenny Breau (he referred to it as the "harp technique"). Here Steve achieves the bell-ke sonority associated with this technique by lightly touching a string with the index finger of his picking hand at the fret

dicated in parentheses, while picking from behind (pick held with thumb and middle finger).


7/33

1/2

= = - = - - = - - = - - = - - = - - = - - = - - = - - 'R - 2 _ ( 1 'H l - 4 _ ) + - _ 2 _ ( _ 1 _ 4 ) ~ 4 ~ ( 1 _ 6 _ )~ 2 ( _ 1 _ 4 _ ) _ i _ 1 _ 5 ~ ,

'Only diamond-shaped Ch d d' d f .notes sound 8va ( th ro ug ho ut). o r names env e rom pIano p art.

A .H . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - A.H.------------------------- -------, (8va) 1/2

~_J_(8"') ~_' ~ = ~ : . '=_ _ ==~_U_lI ~ ,'.,. ~

f) -----leUing j -~ -:-~let ring-----------j

A.H.--------------------------------A.H.---------------- -----------------, 1/2

00-

I I 1_2 0_4)2 ( _ 1 4 d _ ( 1 6 ) ~ _ ( m

A.H.( ~. Hr -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- - -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -, (8va) A H A.H.-----------

~====_ . ~let ring-------------------------j letring- j

A.H. ------- --- ------- -------- --- --- -------- ---------- ------------ ------------- ----------- ----- ------------ --,

3

4 (16)

E5 B A C#m

AH -----------------------------------------------------------------------------------------------------------------------------------------------------------------------,(8~aj 1/2 Full FU!I ~

.. ~ ::::::====~'. m =======_n~c({Hf===----~~-- ~~=====~=================

let ring ----~ let ring ----~A.H.-------------------------------------------------------------------------------------------------------------------------------------------------------------------------,

~ F ,1I )11----- ,

2 ( 1 4 ) 2 ( 1 4 ) : ( 1 6 ) i ;~~.~!(~j)~~'~6) '(6). B o o ) 7 ~ 9 ) 7 ~ 9 ) 1 = = = ( 7 ~ = = )= = ~ ~ = = = = ~ ~ = = = = ~ ~ = = = = ~ ~ = = = = ~ ~ =

Descending Sixths. 2 interesting intervallic sound in bar 2 comes from a combination of mostly major and minor sixths, and the triplet

_~.-thmin which they are played. By playing a two-note interval grouping (6ths) in a descending sequence, in conjunction

- :t . lta three-note rhythmic pattern (triplets), Steve throws the listener off and effectively disguises his repetitions of the

21.e intervals. This rhythmic device (phrasing three-note groups in two's) is calledhemiola.

IIIBadd4

Full

~)~~%1H~~- J __

I

7 7

6 9 = 4 = - = = 6= = = = = = = 4 = = 7 = = 6 = = 5 = = = = = = = = =I

1 11 2 1 4 1 2 1 4 1 2

=_ _= =_ _= =_ _= =_ _= 1 = _ 3=_ _= 1 = _ 4 =_ _= =_ _= =_ _= =_ _= =_ _= =_ _= =_ _= =_ _= =_ _= 1 = _ 3 = _1 1 1 3 9


8/33

H I R D P O W E R

f r o m H I C H T E N S I O N W I R E Spyright 1989 Dregs Music, Inc.

s Arrangement Copyright 1990 Dregs Music, Inc.


Chromatic Embellishments In D Minoreve uses his Ovation stereo classical guitar throughout this tune (allowing for very wide stereo imaging with his high-E

ring panned extreme right, the B string panned extreme left, etc.), playing various two-note-per-string patterns. Here

eve heavily embellishes the D natural minor scale (D E F G A B b C), approaching some diatonic tones a half-step below,

by adding chromatic passing tones between them. This effective technique of weaving in and out of the basic harmo-

y yields a sense of instability, reminiscent of the beboppers.

-

, /' H . . . . .

- - v

.. . . ~ vP

H . . . .- - - - - - -" "v u ~ ~ ~

""

~ ~" . . ~ "u . u v

" "- u u u vv u


9/33

N D L E S S W A V E S

f r o m H I C H T E N S I O N W I R E Ssic by Steve Morse

pyright 1989 Dregs Music, Inc.

s Arrangement Copyright 1990 Dregs Music, Inc


32nd-Note Tripletshis three-note-per-string sequence uses notes from the A natural minor scale (A BCD E F G), played ascending in groupssixes on the high-E and B strings. The first flurry of notes begins with the note A over an Am chord. This six-note pat-

rn is then repeated from a new starting point, with the note G as it is played over a G chord, and continues onward down

e fingerboard in a similar manner. Throughout this solo Steve uses an assortment of similar patterns, churning up a

orm on his steel-string acoustic.

Am

Full

-/)~

L-3----.J L-3----.J 1/2

)


10/33

C U T T O T H E C H A S EMusic by Steve Morse

Copyright 1991 Dregs Music (8M!)

This Arrangement Copyright 1992 Dregs Music


f r o m S O U T H E R N S T E E L

The Last WordSteve teams up with fleet-fingered JeffWatson (formerly of Night Ranger) in this dueling guitar extravaganza. During the

tune's solo section, Steve and Jeff cut heads, alternating solos every four bars, ripping up their respective fretboards with

high-energy, in~your-face finesse. Steve begins his last solo with a D Mixolydian (D E F#GAB C) string-skipping lick that

is alternate picked (starting with an upstroke), and concludes this first phrase with a continuous flurry of sextuplets, end-

ing with a bend (bar 3). In the final phrase Steve incorporates chromatic passing tones into an ascending scalar passage

that climbs nearly three octaves.

-~ ll.

t 6 66 6 6 6 6 6

~~ ~ ~ . ~ ft ~ ~ ft ft ft ,. !. . . V

,ft .ft I,, , ~ . . . ." . ." ." ." ,~.~

8va ----_.. _ F ;;l i _.. - - - _.. _.. - - -- -,

j-' -".-....~

Full

)

Full

j-' -


11/33

I M P L E S I M O Nsic by Steve Morse

pyright 1991 Dregs Music (8MI)

s Arrangement Copyright 1992 Dre9s Music


f r o m S O U T H E R N S T E E L

Saving The Best For Lasts Steve consistently demonstrates, saving your best licks for last is an extremely effective way of creating the kind of musical

nsion and release required to effectively peak a solo. Here Steve begins his climax with an eighth-note motive, which is then

stated and intensified with the addition of a 21/2 step bend. The phrases that follow are based on a combination of the A blues

ale (A C D E b E G) and the A Mixolydian mode (A B C# DE F# G), with added chromatic passing tones.

IIIN.C.(A)

8va ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------F II 2

11 2 1/2u~~~ ~ )L sl. ~ ~

2 11 2

Full

8va -------------------------------------------------------------------------------------------------------------,

Full loco


12/33

S L E A Z E F A C T O R

f r o m S O U T H E R N S T E E LMusic by Steve Morse

Copyright 1991 Dregs Music (BMI)



Brutal BendsSteve bends all over the place in this excerpt, pushing his strings across the fretboard anywhere between a minor 2nd and

a major 3rd! Check out the lick in bar 2, where he bends the E on the 2nd string up a whole step to F#, sustaining it while

playing various notes along the 1st string before its release (Steve's left-hand fingering is indicated below the tab staff).

Using B Dorian (B C# D E F# G# A) throughout most of this section, Steve colors these notes with a harmonizer effect that

generates an additional pitch one octave higher.

- 8va -----.- ------------------_ .. _.. _ ---

jll z

~

Full) - - - - - - - - - - - - - - - - _ . _ _ _ .._ _ .._ - - - _ . _ - ' Full

J;)

1\ II " I ~ t !'. sf .

~ I - I r.. 1~2 1~2 1/2 .. st .

.,-, .~ o~ .~ .~ o~ .~ .~ . " ,n .~'" ,~ .,.ow ow ow ow " ow ow ow

,w "

B A T T L E L I N E Sf r o m S O U T H E R N S T E E L '

Music by Steve Morse




Tasteful TransitionsThroughout this tune's solo, Steve chooses to perform his melodic ideas, followed by an ascending 32nd-note run. These

blazing scalar passages are used as a transition to each of his forthcoming melodic statements, which typically consist ofanything from interesting pentatonic licks (bar 1) and creative bending ideas (bars 5, 9 and 10), to wide-interval groupings

(bars 3 and 4) and two-note-per-string patterns (bar 7).


13/33

Dm1/2

)------------, P Full Full

5~~~E~~1/2

}-----------,~ Full

12 (12) 19 f13 19 12 19 11 12

Full

13 "

I , {19 12

12 13 1511213 14 15

8va ---------------------,

Full Fu!L_ loco Full Full

Full Full

N----. Full15 (15) 13 15 18 13 17 13 13 15 13 i 13 C) I

_______ (9_) 1_5 . 15 14 1514 12 151 2 l 12(121'v-------------------------------- sl.

Full

r - ~ - - - - - " )'7 7 5

1/2 1/2 Full

.1,[L,/\1

B~ F8va----------------------------------------------------------------------------------------

Full FU_Il~~~

~ .. ~t~-0=======___-' -


14/33

S O U T H E R N S T E E L

f r o m S O l / T H E R N S T E E LMusic by Steve Morse

Copyright 1991 Dre9s Music (BMI)



Banjo RollsSteve emulates banjo-style arpeggio passages in this tune's bluegrass-flavored introduction. This challenging figure is per-formed fingerstyle, rolling the thumb, middle and ring fingers across the 3rd, 2nd and 1st strings, respectively.

-H Ill. H ~ H ~

H

~J O >-r = >-/0 . >-~ >- It. >- H l- - >- /"'.

~ \ . . . . . . . , . - 5 1 . ~.-I

16:12 I p q ~ H P P 11

H H H H ~ ~ H H P P s t. H P P'v ~ ~ ft ~ ft ft " - - - - - - - ft - - - - - - - -~ ,n ~ ,'~ v . . . . .: , v

"v

ft;. ;. - - - - - - - ft -v 'v v v v ~ v - v n

v v

ft

V

It.~ H ~

H

~ )

J O >-/. = >-/C'. - >-/' >- It. >- >- H

L 6

I

"

4 0 '~.- . ~ # ~ . .I I P q ~ w/pick

16:12F.ll

H I~ H ,ft H H ~ " ft H H P~ ft ,~ V v " - - - - - - - ft -;. ,n v .'. ~ ~ ~ . . ~ ~ v ~ ft

'v v ft ~ ftV

ft ft

V v v vftl~ v ~i

String-SkippingIf you were having some difficulty executing the string-skipping lick in "Cut To The Chase," consider the following riff

as an etude that focuses on the most difficult aspects of that lick. The pitches in this pattern undergo constant changes in

order to accommodate the five bars of shifting harmonies.

IEIII" J O

~6 6 6 66 6 6 6

P.M.------------1 P.M. -----------, P.M.------------1 P.M. ------------1 sim_

~ ~ ~ ~ ft ,ft

. . V~ ft ~ ft ~ ~ ~ ~ ~ ~ ~ ~ ft ~ ft ft .~~ ft ~ .ft .ft ft ~.~ M~ ~ ~.~ I~ ~ ft ft.~v V v v

" v v " " v v " " v v " 'v " v " ,,, .v " v " 'v 'v " v v 'v IV " V V 'v


15/33

Alci GIF

II # fI - ~ ,II ~t l. II f I - , ~~ fl -

t) 6 6 6 6 6 66 6

.~ w .~ I~~ . . ~ ,~ ,. ,~ I~ I~ .-

~.~ v ,~ ,~ . . v 'u , ,. .. .. . -w 'v " 'v w 'v

C/Esf.

' - . .

6 6 6 6

st.

E E K E N D O V E R D R I V E

f r o m S O U T H E R N S T E E Lusic by Steve Morse


s Arrangement Copyright 1992 Dregs Music


Qutro Riff

he following figure is an example of how Steve can take an ordinary blues scale and give it a refreshing, new twist. Thisblues scale (D F GA b A C) riff, spruced up with the occasional B (borrowed from D Dorian), exploits the full range of

he guitar fingerboard and, as in the previous example, is played in unison with electric bass.

N.C.

Full

)

1/41/4

)) 3

P 3

L-3-.-J3 3

3, 1-3-----l

Full 1/4 1/4

P P


16/33

U S E R F R I E N D L Y

f r o m C O A S T T O C O A S TMusic by Steve Morse

Copyright 1992 Dregs Music (8MI)



Chromatic CraftsmanshipThis lick, which contains an extremely cool descending chromatic line that Steve draws attention to with powerful accents,uses the E blues scale (E G AB b B D) heavily embellished with chromatic passing tones for maximum effect.

-

G E T I T I N W R I T I N G

f r o m C O A S T T O C O A S TMusic by Steve Morse




Bending Riff With Pedal PointMany creative ways of incorporating pedal points into an improvisation have been outlined. in previous examples. In this G

Mixolydian (G ABC D E F) lick, Steve alternates between bent notes on the higher strings and a G pedal point on the 4th string.


17/33

F5 D5 G5Full~~ -

8va. -----------------------------,

Full 1/2

) ~1/2

-!

1/2

~

U N A W A Y T R A I N

f r o m C O A S T T O C O A S Tusic by Steve Morse

opyright 1992 Dregs Music (8MI)

is Arrangement Copyright 1993 Dregs Music

ternational Copyright Secured All Rights Reserved

Bluegrass Barn-Burnerteve plays this tune with a clean tone throughout, beginning with this intro riff that's chock full of alternate-picked dou-

le stops.

III


18/33

Bluegrass ThemeThis is the tune's main riff, which is performed similarly throughout its many repetitions .

1'1 II

j)OJ

~ #J. #J. " - - - ' . ,

" ~ 71~

sl. sl. p

r1/2f'.. n\ iin . n n / ii~ . ~ n n n . " v ~ v v

"V

" ~ v ~ - n nv ~ - .- - - - . . . . - v

Bluegrass BendsSteve holds his pick with his index finger as he rolls his thumb, middle and ring fingers across the top three strings, nailing

every note of the indicated triads in this rapid arpeggio passage.

- F C G D A B b F c G D

Full,--- 3---,

>-

6

Full Full


19/33

Exploring Chromaticism Within A Mixolydian (A B C# D E F# G)e following example from Steve's solo demonstrates the effectiveness of using chromatic passing tones when improvis-

g over a "static" chord (Le., when one harmony remains unchanged for a series of bars).

-/I II ~ . . h . l- I~

, , , , , . 11~ ~v V

ft ~ ~ ~ ~ ftV V V V

~ ~ ~ ft ~ ft ~ . ~ ft. V ~ V

V E R E A S Y

f r o m C O A S T T O C O A S Tusic by Steve Morse


s Arrangement Copyright 1992 Dregs Music


Mixed Bageve uses chromaticism, string-skipping licks, pitch bends, artificial harmonics and palm-muted sextuplets in this passage

ayed over an AS chord. Well done!

1li(AS) A.H.

(15ma)

! I I I / I ! I I I / I ! I I I

A.H.(8va)

Full

J

L- 3- - - . J L- 3- - - l

P.M.----------------------j 1/2PM ----------- - -- j Full L-3 ---l l1 /z P.M. --------------------j Full P.M... j/ l M M / I . . - - - - - - - P.M . - - - - - - - - - - - - - - - - - - - - - j A . H .


20/33

C A L C U T T AMusic by Steve Morse



f r o m F U l l C I R C L E

Pedal-Point Riff Played FingerstyleSteve uses his right-hand middle finger to play the E on the 12th fret of the first string, while using his right-hand thumb

to play the riff's remaining notes-all of which are from E Mixolydian (E F# G# A B C# D). The high-E note functions as a

pedal point, as Steve alternates between it and the passage's lower notes occurring on the 2nd and 3rd strings.

-

P O M P O U S C I R C U M S T A N C E SMusic by Steve Morse



f r o m F U l l C I R C L E

A Plethora Of Precise PickingNon-stop 16th notes are always an extremely effective way of increasing the intensity level of an instrumental track, espe-

cially when they're played in unison with Dregs violinist Jerry Goodman! The first two bars of this alternate-picked passage

are reminiscent of a lick from "Highland Wedding." With the addition of an assortment of two-note-per-string patterns,

performed on different string sets across the fingerboard, these bars are also restated at the riff's conclusion. Most of the

notes in this riff stem from two guitar-friendly scales, E natural minor (E F# GAB C D) and E harmonic minor (E F# G A

Be D#). Bars 5 and 6 involve a sequence of a descending 12-note motive (don't worry, not 12-tone) that is transposed dia-tonically to higher frets while remaining confined to the top two strings.


21/33

-

Em D/Fi G B= = -

= = -

~-= = -,

L E E V E L E S S I N S E A T T L E

f r o m F U l l C I R C L Esic by Steve Morse

pyright 1994 Dregs Music (BMI)


Reigning Perfect Fifthshis next riff is used as the accompaniment behind the tune's synthesizer and guitar solos. Steve palm mutes every note

f this intervallic figure as he arpeggiates the chords indicated in parentheses, creatively using the interval of a perfect fifLharrive at these wide-sounding chord voicings.


22/33

N.C.(Am7sus2) (Csus2) (07) (Dmadd2) (Am(~6)) (Csus2/G) (F6maj7) (GIB)_d~. P.M. .... . .. .. .................................................................................... j

~: ,', 5 5 7 I 5" 5 ' .; 5I , ' . 5 ' 5 5I . ' 2i., 5 ~,~3535 7

G O O D I N T E N T I O N S

f r o m f U L L C I R C L EMusic by Steve Morse



Taking The FifthHere Steve uses an intervallic idea similar to that of the previous example, arpeggiating the E, C#m, A, and B triads in

wide, open voicings.

-

Sinister Single NotesIn the interlude that occurs before Steve's guitar solo, Steve and Dregs bassist Dave LaRue churn out this sinister single-

note figure that loosely implies the chords printed in parentheses.

l1li


23/33

qP.M.----j

O N I Z E D

usic by Steve Morse



f r o m F l J l l C IR C L E

Unpredictable Pentatonicseve's use of repeated notes at unpredictable points throughout this predominantly A pentatonic minor (A CD E G) melodic

hrase gives this lick its interesting sound. He also extends the range of this common pentatonic fingering by adding a third note

igh A) on the 1st string, expanding upon a pentatonic fingering pattern that traditionally consists of only two notes per string.

-


24/33

G O O D T O G O

f r o m S T R U C T U R A L D A M A G EMusic by Steve Morse



Polyphonic Riff

The instrumental riff below is also played in unison with Dave LaRue, and is another example of Steve's polyphonic ideas. Theaccented notes confined to the 4th string descend and ascend the chromatic scale and are synchronized with kicks from Van

Romaine's bass drum, while the palm-muted lower notes on the 5th and 6th strings move in contrary motion. The last two

notes of bars 1 and 3 show where these two lines converge, with two notes of identical pitch played on adjacent strings, after

which they resume their contrary motion. With the exception of the last two notes of bars 2 and 4, once you learn the first half

of this riff you'll find that the second half is the same figure transposed up one whole step.

D R E A M L A N D

f r o m S T R U C T U R A L D A M A G ECopyright 1995 Dregs Music (8MI)


Polyphonic Riff With HarmonicsSteve incorporates natural harmonics into the pair of polyphonic ideas shown below. In the first example, the fretted notes

descend from the note A on the 2nd string, using most of the notes of the B natural minor scale (BC~ D E F~G A). These notes

are accented in an effort to set them apart from the harmonics that occur at the 12th, 7th, 5th and 4th frets. This compositional

device is employed later, in the form of the second example, further contributing to the ethereal soundscape of "Dreamland."


25/33

EIarm.---------,

Harm. ~>- Harm. - - - ~- -- . . , ~ ~"

II ~ . . >- ~ >- ~ >- ~ >- >- >-f)

let ring -------------------------------------------------------------------------------------------------------------------------------------------------------------------j

Harm.--------, Harm.---------, Harm. Harm.---------, Harm.-------,

.~ ~ " " ~. v ~ .,~

" ~ , ~

.~ v .

v

V v

~ ~

,--------, ,.._-----..,

Harm.--------, >-

e = # : ~ ~

~"

II ~ fI- = : >- ~ >- ~ >-

f)

let ring - -- -- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- -- --- -- -- --- -- -- -- --- -- - _ _ o j

Harm.-------, Harm. Harm. Harm.-----------, Harm.--------, Harm.--------,~ ,

" ~" "

. v

~ " "v v . ""

v v v

A R B A R Y C O A S T

f r o m S T R U C T U R A L D A M A G Esic by Steve Morse

pyright 1995 Dregs Music (8MI)ernational Copyright Secured All Rights Reserved

Chromatic Embellishmentss double-tracked lick displays many of the hip ways Steve incorporates chromaticism into his melodic ideas. While the bass arpeg-

ates a series of chords that loosely imply the modality of E Dorian (EF # GAB C # D), Steve embellishes this common scale withromatic passing tones. He uses these nonharmonic tones to weave in and out of the tonality, giving this line a unique flavor .


26/33

1/2

~~ ..~~

S M O K E Y M I N . D R I V EMusic by Steve Morse



f r o m S T R U C T U R A L D A M A C E

Pedal-Steel LicksHere Steve achieves a pedal-steel effect by string bending. The most identifiable characteristic of the pedal steel is that, even

while notes are being sustained, a pedal can be pressed to raise the pitch of a specific string. Occasionally Steve uses his vol-

ume knob (or volume pedal) to swell the envelope of sound after a note's initial attack, producing an even more authentic

pedal-steel sound.

-, II ~. a '# ~.P hn b.'-

t. ,3

, ,3

,

*w/fingersH P

Full. . .. . . . . .ftT---~ft ~ 4f t

~ j ~/"

. . .u

t\

*Steve clutches pick w/R.H. index finger

and plucks stgs. w/R.H. thumb and middle finger.

hold bend

Full


27/33

1 3 5 E D A

Full 1/2

# ' n} O J }F

~.

t ff 0 . . . , r f rvib. lower note only 3 3

Full 1/2

H t t aJ a l~ 9J tz 10 121 +

9

D

Full

~----'-"""-:' 1/2

= = = - _ ~ = = = = = = r = = = \ ~ = : : : : : : : : = = = : : - = = = : : ; = = = ; ; ; ; ; ; ; ; ; ; ; : = = = : : : : : = = = = : : : : : : : : ; ; ; ; = = = ~ = = = : : : : : : : = = = = : : = = = = = = = = = = = = = = = = = = = = = = = hold bend

FuJI let ring-- _._.. --- _.. _.--- --_.- ---- -_.-_.'--iii' --_..i

= = = = = : = = = = = 1 a = J = - - - = - - - = '~ 'a = - - ) = = 1 ~ ') " 1/"1 I ; nmmnm'

Pedal-Point Lickshis B Dorian (B C# D E F# G# A) lick contains many of the same types of chromatic embellishments encountered in

Barbary Coast," with the addition of two bars' worth of pedal-point licks. In bar 5 the 4th string B is the pedal point (main-

ned throughout the bar's duration), while higher notes are aggressively snapped out at various points as they descend

ong the 2nd string. In the 6th bar, this concept is transferred to the next lower string set, where 5th string F#is the pedal,

hile higher notes descend in unpredictable syncopation along the 3rd string.

- N.C.

Full

.~~ ~n~ia I.. II>- I. II ~ I. II - f ' - ~

>->- I. I

~ hold bends .... i

Full

1/2

'1~rln' , ., ., ., .~., ., o~ .,

o~ ~ ,~ .~ ow ~ n onow w ow ow w ~

After bending y, step, continue bending while playing 0#((2) 9fr.) until a full bend is reached at beat 4.

" ~ ~ ~;- >- 1.>- >- :;- MMAMA AAAAAAAAAAAAAAAAAAAA~

~ I ' I I I I I I I

*let ring -.... --.. ----. ----- ---- --. ----- i *let ring' ------ ---------- ------ ---- i 7 1 1

MMAMA AAAAAAAAAAAAAAAAAAAA

.~ ~ .,. . .

n ., nv 0

n nv

n n

v v w .


28/33

N A T I V E D A N C E

f r o m S T R U C T U R A L D A M A G EMusic by Steve Morse



Triadic Polyphonic Riff

Here's another polyphonic figure involving triads in the key of G. Steve orchestrates this figure in a novel way, assigningspecific portions of this riff to other instruments in his ensemble. The bass consistently plays the lowest note (root), while

the piano plays only the root and 5th. This gives this straight eighth-note figure a more syncopated feel that would be dif-

ficult to achieve if Steve chose to play the riff just by himself.

II >- >-

J J I I l .. .. .

i I>- >- . . >-

i >- ii

>- . . >- >- >- i ~."-/

P.M.--------------------------------------------------------------------------------------------------------------------------------,. .... ...

~ ft"~ ~ .

" . n n

~ . ft. Y . . "

, ,. . ~ ~ ~ ~

~

Heavy String BendsOne reason Steve Morse is such a brilliant soloist is his approach to dramatizing a musical event. One of the many ways

Steve accomplishes this is evident in the excerpt below. He begins this portion of his solo in the lower register of the instru-

ment, playing open and fretted notes on the bottom three strings. He switches to his bridge pickup, to help bring out thesquealing pick harmonics he uses in conjunction with string bending and an extremely wide vibrato. As the solo progresses

he moves up the fingerboard, playing higher and faster to heighten the level of intensity.

semi-harm. --------------------------- -------------iii -- - ---- -,wlf/anger


29/33

N.C. (El

)11 )11 1/2

~ ~ ~ AAAAAAAAAAAAA

~J ~~~-----~~==~ = J--I. .~ ----- ~ '----------semi-harm. grad. bend

semi-harm.

sl.P.M . - - - - - - - - - - - - - j F u l l F u l l 1/2

~ ~ MMMMMMA/ / /./ - - - -

/'

(", - ~ " " , ~ ,~. :~ ~ ~'--../ ~

1/2~-_ _----~

Full

~, ~ ~ MMMM 6 ~ ------------- ~. r - - - , . #- ~.I

~ '.J .~. . ~. . L .J.-JL---3 --.J

1/2 F u l l etc.

P.M . ---- ---.- -- --- --- -- --- j

1.2P.M . ----------------------j ~ - - - - - - - - - - - - - \

~MMMMM ~ sl .

"/ . . .~\ 'f " ; ; ;- ~-., ~ ~ ~.~

" " " " " " .,~,"

~ ~ ~ ~ u ~~ ~ u

J U S T O U T O F R E A C H

f r o m S T R U C T U R A L D A M A G Eusic by Steve Morse

opyright 1995 Dregs Music (8MI)


Melodic Phrasingteve digs deep into his vast reservoir of phrasing subtleties and, as usual, delivers another example of his distinctive lyri-

al playing. With his use of vibrato, string bending, sliding in and out of a chosen melody note and hammer-ons and pull-

ffs, our ears are treated to a powerful and emotional performance. The first eight bars of the melody consist of a two-bar

motive that is repeated four times over different chords (Am, F, Dm and B b ). Every time we hear this motive, which con-

stently begins with the third of each chord (bar I-Am: 3rd=C), it is transposed to fit over each new chord, again starting

ith that chord's third (bar 3-F: 3rd=A, bar 5-Dm: 3rd=F, bar 7-Bb: 3rd=D).

- Om CIE F C1/2.J;:"-~-'~ ~ u.~

1/2

j..-------.~----


30/33

FuJI

.)"""":. p

"....... ~ ~ ~ F" i

... . . ......

sl.~ - = -

~ r

FuJI

r"""~ p H P H . . . . . . . sl.- - . . -"' ~

;.

v

" - ~ , ~, .~,.

v v ,

"

R A L L Y C R Y

f r o m S T R U C T U R A L D A M A G E -Music by Steve MorseCopyright 1995 Dregs Music (8M!)


Celtic ThemeThis riff, composed primarily of 16th notes and 16th-note triplets, is played over a slow rock groove. The opening Celtic-influ-

enced motive-involving the open-E string and a quick hammer-on/pull-offbetween Band C # at the 7th and 9th frets-func-

tions as a common thread between the first two bars of this riff and the bars that follow, where it is modified to accomodate

the different chord changes. Use the suggested fingering to help navigate your fingers through Steve's Celtic creation.

-N.C.(E7)p

! : \


31/33

Big Bendsn this solo excerpt, Steve shows that varying the rhythmic placement and interval distance of bends (ranging from a minor

nd to a perfect 4th) will create an unpredictable improvisation. Steve begins many of his phrases after a 16th-note rest

ars 2 and 3), yielding uncommon phrase lengths and a strong sense of forward motion.

-

2

1 V 2 J

*Semi-harm. (next 2 bars)

BS AS BS A E N.C.111 2

j A. H.1/2 IIIIM\

P (I5ma)

11/2

j 1/2 1/2 A. H.

.---------,sl. IIIIA:\.\

P

A.H. pitch: D i

1/2

j~

s t. 21/2

P.M.-----' P/2 jsl. ----


32/33

TABLATURE EXPLANATION/NoTATION LEGEND

TABLATURE: A six- line staff that gr aphically r epr esents the guitar f inger boar d. By placing a

number on the appr opr iate l ine, the str ing and the fr et of any note can be indicated. For example:

1s t s t r in g - Hi gh EI2n d s trin g - B 0 4 1 { )

3rd string G 94th s t r i n g ~ D ------------~-----------

5th string - A 36th string - Low E ------------------------

2n d s t r in g , 10 th f re t

a n d 3 rd s t r in g , 9 th f re t

p l a y ed t o g e th e r

______ D ef in i t io n s fo r S p ec ia /6 u i ta r N o ta t io n s

VIBRATO: Vibrate the note by

rapidly bending and releasing

the string with a left-hand finger.

PULL-OFF: Place both fingers

on the notes to be sounded. Strike

the first (higher) note, then sound

the lower note by pulling the fin-

ger off the higher note while keep-

i ng t h e l o wer no t e f re t t ed .

p

PALM MUTE: With the right

hand, partially mute the note by

lightly touching the string just

before the bridge.

MUFFLED STRINGS: Lay the left

hand across the strings without

depressing them to the fret-board;

strike the stringsw~hthe right hand,

p r o d u c i n g a p e r c u s s i v e s o u n d .

WIDE OR EXAGGERATED VI-

BRATO: Vibrate the pitch to a

greater degree with a left-hand

finger or the tremolo bar.

TRILL: Very rapidly altemate be-

tween the note indicated and the

small note shown in parentheses

by hammering on and pulling off.

D AND RELEASE: Strike

note and bend upY , (orwhole)

then release the bend back

original note. All three notes

ied; only the first note is struck.

1/2 (or Fullj

~

SLIDE: Strike the first note and

then with the same left-hand

finger move up the string to the

second note. The second notei s n o t s t ru c k .

TAPPING: Hammer ('tap") the fret

indicated w~h the right-hand index

or middle finger and pull off to the

note fretted by the left hand.

T P

~

PICK SLIDE: Rub the pick edge

down the length of the string to

p r o du c e a s c r at c h y s o u n d.

TREMOLO PICKING: Pick the

n o t e a s r a p id l y a n d c o n t i n u o u s l y

as po ss i b l e,NATURAL HARMONIC: With a

left-hand finger, lightly touch the

string over the fret indicated,

then strike it. A chime-like sound

is produced.1/2 (or Fullj

1

RHYTHM SLASHES: Strum

chords in rhythm indicated. Use

chord voicings found in the fin-

gering diagrams at the top of the

first page of the transcription.

-BEND AND RELEASE:

d the note up Y, (or whole)

strike it and release the

d back to the original note.

1/2 (or Full}

~

ARTIFICIAL HARMONIC: Fret

t h e n ot e n o r m al l y a n d s o u nd t h e

harmonic by adding the right-

hand thumb edge or index finger

tip to the normal pick attack.

S ING LE -NOT E RHY THM

SLASHES: The circled numbera b ov e t h e n o t e n a m e i n d ic a te s

which string to play. When suc-

cessive notes are played on the

same string, only the fret num-

bers are given.

SON BEND: Strike the two

s s i m u lt a ne o us l y a n d b e nd

lower note to the pitch of

higher.

HAMMER-ON: Strike the first

(lower) note, then sound the

higher note with another finger

by fretting it without picking.

TREMOLO BAR: Drop the note

by the number of steps indicated,

then retum to original pitch.

~~ ......--..


33/33

I J J I Cherry Lane Music Co

Q lit I P i t d M i

Steve Morse-Just the Riffs

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