Frank zappa hot rats - songbook

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Frank zappa hot rats - songbook

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Frank zappa hot rats - songbook

  1. 1. A FRANK ZAPPA - HOT RATS IIIIIIIIIIIIIII IVVIONS 1rIrIrrL"»1IrLIgLI»gIIIrwluunm 805 203 6
  2. 2. AIITIIIHTIC IIAIIIIIIVTIOIII WIIII IICIII AND II-LIVIIII FRANK ZAPPA - HOT RATS 14 30 43 45 65 INTRODUCTION PEACHES EN REGALIA WILLIE THE PIMP SON OF MR. GREEN GENES LITTLE UMBRELLAS THE GUMBO VARIATIONS IT MUST BE A CAMEL Music transcriptions by Andy Aledort Album cover courtesy of Matt Groening ISBN D-I:3II-IJELSE-II ! — HAL°LEONARD® CORPORATION 7777 w. BLUEMOUND RD‘ F404 Box lasts M IIIIIII 2. WI 53213 Unauthorized copying. arranging, adapting. recording or public performance is an inlringement ol copyright. Zappa. FZ. Frank Zappa, & "The Moustache" are marks belonging to the Zappa Family Trust For all works contained herein: Intringers are liable under the law‘ Artwork and elements used by permission All Rights Reserved Visit Hal Leonard Online at www. haIIeonard. com Anything Zappanese go to www. zappa. com F. ‘
  3. 3. When Hot Rats first dropped onto my sick little teenage record player back in 1969, I planted myself on the floor and sandwiched my head between the two speakers, expecting yet another masterpiece from Frank Zappa. But what another masterpiece! Even by Frank’s brilliant standards, Hot Rats is in a class by itself. With its angular melodies, quick-change rhythms, and eccentric arrangements, Hot Rats basically invented that peculiar musical genre known as fusion. 1 think it also remains the finest jazz-rock album of all time. Everything about Hot Rats, from Sugarcane Harris’s screeching violin to Ian Underwood’s exuberant saxes (not to mention Don Van Vliet at his growly Beeflieartiest) continues to amaze me. I’ve been listening to it for more than three decades now, and I keep hearing new things in Frank’s extended guitar solos, which play like sneaky little compositions within the bigger pieces. (And does anyone else hear a wee bit of Stravinsky’s Petrouchka in “Willie the Pimp”? ) One little confession: the cover of Love Is Hell, my first cartoon book, was inspired by the graphic starkness of the Hot Rats cover. I admitted this to Frank and Gail several years ago, which led to Gail asking me to write this little piece. Gail also asked if I still had my original beat-up LP copy of Hot Rats, so here it is reproduced in all its mottled, stained, dog-eared glory, complete with candle-wax drippings. HOT RATS . . . HOT ROOTS . . . HOT ZITS . . . what another masterpiece! Matt Groening Los Angeles December 21, 2000 v
  4. 4. . Peaches en Regalia By Frank Zappa II] ModerateIyJ = 104 ‘ Bm E7 Bm7 Plav 4 Iirrwx E CrIrS. I&2 ' Chord symbols rellecl overall harmony. " Synlh. arr for gtr. ‘” G11‘. 1 to left of slash in lab. Gus. I & 2 meet + Sax. arr. for gtr. All compositions contained herein are © 1969 and controlled worldwide by The Zappa Family Trust 8 All Rights Reserved Reprinted by Permission
  5. 5. * Crlr. 4 In ten of slash in lab, jiurnrnrnr . . . . m; mpi; -ipr; , ‘ ' ' lg-lg-+3.Ilgw; lrpigjigngmpgjrmgmptjignggmpigt " Gtr. 5 in left of slash in TAB.
  6. 6. IE Gtrs. 3. 4 & 5 tacet ‘(}tr.6 5 Film " . / / / / / -s is . , Q31 r (clean) ” Doubled hy flute (next it meats. ) E Film / / I/ f ’_ 1 I ‘. l—— 9 10
  7. 7. Aadd9 G$lm7 Aadd9 Gtlm7 Gtr. 6 tacel C D BI: El: ' Gtr. 7 b I E" i; it * iii E‘ “ 7 I - / ,1 ‘ «r > L ¥—jjj_jj—-:3 Z ,7. ‘ 7, j-—— J I j ‘ Organ arr. for gtr. Ab F Gsus2 G7sus4 Hljtfbiljtfl-ll-t-liljl IE-£12 ‘ '—t. '—t. '-tI—tI§l5—| 7 4», ' I ‘ l- I FT/ l stead)‘ gliss. l I T Sl€(ld_' gIi. '. t'. 11
  8. 8. Gtr. » 3 8.; 5 meet F D E Int 0 - 9 Fa. — — _ — T = : 6; — 411- J¥S_L““‘~——- ? ’’T T : 7 —1+ 19-14 19—1s— ——1-7- I —19— 49— I I Gtr. 4: w/ Riff A 12 times) Bm E Bm E Rlfl‘ A End RlffA Rvu - - - - ~ - - - - - - - - - - - ~ - - - - - - - - — - - - - - - - - - - - V - > - - Lfi=1_. ._f, f T a§‘3'f? iiL. !‘ 1’ T E’ f r = l TTET*iTT‘TE*%l 12
  9. 9. I. Gtrs. 3 & 4 tacet Gtrs. 8 & 9: w/ Fill l (3 times! Bm7 Amaj7 Csus2 Dsus2 Aadd9 ‘ Doubled Kba. ’ Doubled Xvu. Begin Fade 3rd time, Fade out Gtr. I meet Csus2 Dsus2 Aadd9 r tam L: r“ “ Clarinet arr. for gtr. 13
  10. 10. Willie the Pimp By Frank Zappa Intro Verse Moderate RockJ = 84 Triplet feel (5:35 = JTE) N. C_(Am, (violin & drums) 3 (bass in) l. I'm a lit- tle pimp with my hair gassed Gtr. I ldist. ) RIHA End “MIA back. Pair a kha- ki pants with my shoes shined black. $1 j>7,jJg; IvnIJ 1 - I *I Got a lit-tle la-dy. .. walk that street. tell—in' all the boys that she can‘! be beat. Verse (violin & bass continue Rift’ A similcl N. C.(Am) t I A I 2. Twen-ny dol-lah bill (I can set you straight. ) Meet me on-na cor-ner. boy 'n don‘! be £3447 3. 14
  11. 11. iJ‘75q l; ¥-I ' J neck wan-na buy a grunt with a third par-ty check. Flooz-ies in the lob-by love the way
  12. 12. Guitar Solo N. C.(Am) wl ad-lib. hollering (next I I meas. ) ; ,.-, . Q3-”E_; fIr fig: Eff g'_E‘Lri: .;t. ELirj' T ” i_.3—J
  13. 13. Guitar Solo N. C.(Am) ‘ Played as even sixteenth notes.
  14. 14. hold bend -1 . ... .__Wfi, E_fl____e_ ‘%‘v§K~‘. X&X~'. ‘K-5
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  22. 22. (555 =55?) Xvu ! ‘_B I. —.—. —.—. —.—. —.—i—i—Im *—°- = : pitch: G
  23. 23. Pam»; g u; :=-xH: afi, »; 3» In ring - - - - - — - 4 w/ UniVibe
  24. 24. Son of Mr. Green Genes By Frank Zappa SS I1] Moderately J =98 2nd & 3rd limes. Gtrs, 4. 5 & 6: w/ Fills l & IA (4 times) * Dm G " Gtr. l (drums) r E g E E E f * Chord symbols reflect uvcrall harmony. 30
  25. 25. 3rd time. To Coda $ F G Am Bl: : G:___ ” ll Fr‘ _ erg r f’ e “""; §F'fl4“= $
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  34. 34. _l; —lZ- IliHL—t§£ TtItZ_ ll. "jlI—lI—l'. -L-lIjlIIlIZt‘—t‘ —LI£ItjL— £. 'jf. ‘- 40
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  36. 36. D. S. al Coda Gus. 2. 3 & 9 lacct £45423 Free time D5 r. ‘ Organ an: for gtr. 42
  37. 37. Little Umbrellas ByF1-ankzappa Dsus2 Fm7 D° Cmaj‘) Bbmaj7 Bb13/F E7339 Am G6 s1r Ufr ’ 4rr ‘ Am ‘ 511 " on 6lr ‘ A51: ( I34lI 13111 231-H T3l2l T432] 3124 ZIJ4 T3lI| T324 F3 Cmaj9'“ A1715 Gm9 C7ll9 Bb Fm9 cII71I9 E E E E" E E E" 3%” E“ T3244 l32ll I324 Tll|3 ZI34 T32| l3lll ZIJFX ZKI F“ G A Bl: Caddfill Dbaddfill EB Em Film / ‘i / T X X X X / T @ fl %” E" E" E” E” E" @ 134211 1.14211 134211 114211 T1421 T3421 133.1 1,u21 114111 mlntro Slow J = 68 Main Theme Dsus2 Fm7 Dsus2 Fm7 Dsus2 Fm7 ‘ Piano arr. for glr. " Homs & synlh. am. for glr. Dsus2 Fm7 Dsus2 D°7 Dsus2 Fm7 7.7777777 77777777 77777777 1 3rd time, play GI Cmaj9 Bbmaj7 Cmaj‘) Blamaj7 H Play cuc notes. 3rd1im: Dsus2 Fm7 Dsus2 D°7 Fm7 Bb 13/F
  38. 38. 35 r C an E Secondary Theme 0 0 $ 1-171:9 Am G6 F63 cmaj9'” Am G6 1=ogCmaj9'" n771‘n'71r7w7~117mA1 Xva--I . ' I I [M0 jflg . IE Keyboard Ensemble Solo 2nd time, D. S. al Coda 1 13 F11 G A Bl: Caddltll Dlaaddflll Eb G) Coda 1 115.5. al Coda 2 Am Ab7b5 Gm9 C7119 131. Fm9 c1I7II9 Fflm J 3 o 7 * ‘ ril. [mm a para 1:”J*1J'T1_? J J31/ ril. pow a pow
  39. 39. The Gumbo Variations By Frank Zappa 45
  40. 40. I’! I4 I4 —— V -7”’ >, F 7’ 7.1-: “=3 , ___m __I G 1/4 1/4 I- _ . . . _ . _ . . _ . . _ . . II- . . _ . _ . 46
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  46. 46. LE] Violin Solo N. C.(G7)
  47. 47. ‘S A «" ' 7 ' _ , ' ‘ 12”“ : ‘ 5»? -. . 7 l‘~ %fl‘ . j |1 fiflm£§_ _*<. »mofi~; -sre-7:511:-: :'3;~fiv§. %; - 7§'—'¢. T 1} —O—9- — z‘T——m—O— .1, jojoxrj ' jjjjnojo-1.: I J»: ‘mag? ‘ 21
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  51. 51. -gx--. jnjm~n~jjnj— mu»-as: n.1-~-as-.1-.1—--us: —! I‘Z*1f. C f. §f. ff, -*‘°- I. f. — — -9.. III- f. — f, ! f, ! 7:- I°—'Z‘Z‘C‘—‘-‘Z’-‘. "J —*C‘C‘j‘—‘L‘A‘— jffihftjfmfflrfl Z —r. Cr. Cr. -r—r, !r, !r, — €mmj ‘lei jr, !r, uI-, ur,2r, :rgur: jr, uI, jn»1n! n¢n! g—rj-I-3:1 jr, ur, !r, -r,2r, jr, ur, ; j~A~n~n—n—~n~jI. n~j| ~1~A~n~n~—~mo-J~j : ~A~A~n~—~1jann. j . . . Itninrrmtnjn-11:1 jrrrprprgzrm 58
  52. 52. Q23 jjjjojjtcj jmjjjjoj xjoj
  53. 53. IE] Guitar Solo N. C.(G7) 60
  54. 54. 61
  55. 55. [E] Bass Solo Gtr. . bass & kybd. lace1 N'C‘(G7) El Outro (all inslnlmenls in) N. C.(G7) 62
  56. 56. I I " pull up on hzlr. ‘N0 ‘G >Z: T V? %%‘M i““ tr--a--tr-- 1? $1 waif 5+7; -= 1;_@r~*: to*+~1
  57. 57. Free time N. C.(G7) (All Inslrulnenlx ad lib freely) Ctr. (ace! (-19 sec ) 64
  58. 58. It Must Be a Camel ByFrankZappa Fmaj9 Csus2 Bbsus2 A9sus4 Gsus4 D7sus4 D9‘"°3"“B7sus4 Asus2 H E E 3%“ @ % $7" I4 I -111 I ~H| N I All 7 I-1| 7 ‘ 1 122234 2 J 3 3 23 23 - _ _ ,3. Ebsus2 Dm7 Abmaj9 Fsus2 Emaj7#ll A6511 Gflm El: /G D| >(fill)/ F E” E” E“ % H" H’ E” E E 1}-Ill l3l2l 2143 T34 I1 2134] 1324 IINIH Tllll T3 24 BII6/F Gbsus2 Asus2 E| >maj7Cmaj7fll1Gmaj7 Bmaj7#1l Absus2 F3131] lfr 5fr Mr r ”r r r r 1333.? I24 124 I324! 2 -HI] I2-144 2 4311 [Li 1.; -. - D/ F11 Bm Em7 D/ C B| >maj9 A/ Cfl 5f' I r 7fi ) 7rY r 311 31: Till I312! Zlll ZIITH ‘ Piano arr. for gtr. D7sus4 D9 ‘ "“~"‘“ Csus2 B7sus4 Asus2 El: sus2 Dm7 Abmaj9 Gsus4 B| zsus2 Fsus2 - I31:-tj--------- »= ~—-- ‘ T = Thumb on 6th string 65
  59. 59. Emajvu 1 1 Fmaj9 ” Sounds one octave "‘ Homx arr. for glr. higher on recording. Gsus4 JUJ 66
  60. 60. :+§1r§1+§1¢;1rE1o31ri1+. '1:i1¢‘3e’3£1 cfcj£jzjiZc&tZr:
  61. 61. Gm. 3 & -1 Luce! A/ CS3 D/ F13 Bm Em7 68
  62. 62. fri 7 7 * ¢2%: ‘E’: !mLj6 ¥i: :fl +1‘ Hm -u lm. “ —13—1-2- 69
  63. 63. D. S. al Coda 70
  64. 64. Eb sus2 Asus2 Dm7 / _____ _§_ _____ A Fsus2
  65. 65. Guitar Notation Legend D A D E G Guitar Music can be notated three different ways: on a musical staff. in tab/ afure, and in rhythm slashes. @ @ ripen 3fr RHYTHM SLASHES are written above the staff. Strum chords in the rhythm indicated. J Use the chord diagrams found at the top of A i" as the first page of the transcription for the appropriate chord voicings. Round NWS1 noteheads indicate single notes. g 3 2. gr - 5 i - THE MUSICAL STAFF shows pitches and F 9 u rhythms and is divided by bar lines into measures. Pitches are named after the first Strings: seven letters of the alphabet. r 0 l 2 l B T l -3 l TABLATUNE graphically represents the 5 i 2 i guitar fingerboard. Each horizontal line " 2 GT | represents a string. and each number 2 I J I ldllresents a fret 4th string, 2nd fret 1st& 2nd strings open, open 0 chord played together HALF-STEP BEND: Strike the note and bend WHOLE-STEP BEND: Strike the note and GRACE NDTE BEND: Strike the note and bend up as SLIGHT (MICRDTDNE) BEND: Strike tl up 1/2 step. bend up one step. indicated. The first note does not take up anytime. note and bend up l/4 step. BEND AND EELEASE: Strike the note and PRE-BEND: Bend the note as indicated, then VIBRATO: The string is vibrated by rapidly WIDE VIBRATD: The pitch is varied to a Wild UP 35 indicated. Tiled release back i0 the strike it. bending and releasing the note with the degree by vibrating with the fretting nan original note. Only the first note is struck. trgmng hand. x“ / ’ MQNWQQM ‘,1. g w»~vwM~ 7 -11»/ ~—**— " _A( -B * _ iii, _ HAMMER-ON: Strike the first (lower) note with PULL-OFF: Place both fingers on the notes LEGATD SLIDE: Strike the first note and SHIFT SLIDE: Same as legato slide, e> one finger. then sound the higher note (on the to be sounded. Strike the first note and then s ide the same fret-hand finger up or the second note is struck. same string) with another linger by fretting it without picking, pull the finger off to sound down to the second note. The second note without picking. the second (lower) note. is not 7 if ‘ _ _, _W ‘“ : r 7 i‘ 1 ’ _ , , l TRILL: Very rapidly alternate between the TAPPING: Hammer (“tap") the fret indicated NATURAL IIARMONIC: Strike the note while PINCH HARMONIC: The note is fretted notes indicated by continuously hammering with the pick-hand index or middle finger and the fret-hand lightly touches the string normally and a harmonic is produced by on and pulling off. pull off to the note fretted by the fret hand. directly over the fret indicated. the edge of the thumb or the tip of the in finger of the pick hand to the normal pic! - P H T , , 4%: ,. . __i PICK SCRAPE: The edge of the pick is MUFFLED STRINGS: A percussive sound is PALM MUTING: The note is partially muted RAKE: Drag the pick across the strings rubbed down (or up) the string. producing produced by laying the fret hand across the by the pick hand lightly touching the indicated with a single motion. a scratchy sound. stringis) without depressing, and striking them stringls) just before the bridge. with the pick hand. ’ ’ 1’. 7’ (rr—. __— 3 NM. ‘ TREMDLO PICKING: The note is picked as VIBRATD BAR DIVE AND RETURN: The VIBRATD BAR SCOOP: Depress the bar just VIBRATD BAR DIP: Strike the note and rapidly and continuously as possible. pitch of the note or chord is dropped a before striking the note. then quickly immediately drop a specified number of specified number of steps (in rhythm) then release the bar. steps. then release back to the original i returned to the original pitch ii: l/2 l/2 ‘J r ~ — 7 4 1-1 ’ ’ ' ' __; — ' ' , d . ul bur ’/ " If/ ,3 53 H9
  66. 66. U. S. $19.95 ISBN D-E314-DE‘].5E-H IIIIIIIIIIII I 0 II73999 67065 3 HL00690443 i 1 . r s H ff. ‘ r -. __P * on PEACHES EN REGALIA WILLIE THE PIMP SON OF MR. GREEN GENES LITTLE UMBRELLAS THE GUMBO VARIATIONS IT MUST BE A CAMEL E‘: HAL°LEONARD‘”‘

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