Let’s Go Crazy {© 1906 Controversy Musi Wamer Chappell Music Lid, London WIY 3A ‘Words and Musie by Pince Guitar ‘The guitar should go fora bright, slightly piercing tone with plenty of distortion, and the lines want to be delivered with a springy, rhythmic edge to the playing, not too heavy handed. You will also need a wah-wah pedal for the Hendrixclke wailing guitar break in the climactic ending. Apart from that the main points to watch out for are getting the fingering of the florid lines in the guitar solos thoroughly sorted out and keeping time in the climaxes. Keyboards ‘It might be necessary to run through the intro part a few times with the singer to get the timing on the chord changes just right, remembering that the intro also cues the entries of the drums and guitar. You will need at least one polyphonic synth and organ or organ voice plus one other keyboard for the backing melodies as well as some effects to create a nice nuance. Bass ‘After a small fll in bar eight of Into Ill, the bass begins with a simple two bar pattem that is Continuously repeated throughout the song. Obviously the drive and thythm behind these small seven note phrases needs to be sustained throughout the song and not allowed to sag. Percussion & Drums A regular eight beat number and a solid drum beat, almost all on the bass drum and snare, pushes the song comfortably along, The tempo is relatively slow but the drumming needs some sharp attack behind itand needs to work tightly with the guitar and bass parts. Be sure to catch the tempo change for the familiar blues ending that finishes off this piece. As far as instruments go, there seems to be some use of electric drums in the percussion part. (SPOKEN) «Dewy ened Weed fee today 2 lay showgh tht hinged Key: Ther i no sit time or tempo to this intro, so don't follow the score too closely here, the note values are only approximate. Like the album simply needs 3 tubato’ touch and some. coordination berween keyboards and singerabo lontb wherTengo ° lame Se she Wall wat sri Hy Hak U knw deena Beings aii ed of san hin how mecha rau we Fic: This 4 bar pattem is repeated De @ : With this 4 beat pattem split between ‘continuously throughout tw song Technically 15 Sad Jed beats on the bass Chum adn ‘pate staghtfonard to play butte pecssion and ath on the snare, the oni itil "rust sane out in a song 50 aim for clear might be fusing them Imo a ice tight scents Aximmnors dum would be appropriate shythm. acting, with ram” mache ine mien hop, 8o e oe cords wih’ seve, suppag’ tate 88; Thee Jando that mae up thet. Ths mba rah on he ut eae Farmer ante ofr OM te lite are quite easy but ony remy sans BR TS ‘the side cymbal and ds not hammerons and puis cleanly in the let itectve wile Bee wine eed to be muted handXey@ The 2 synth pars could play the same voce if possible, Preferably, set Synth ‘Vio a davier sound and Synth. 2to an organ voice, (0 get somewhere near the orginal Try adcing some delay and make the tone lite bright to accentuate the high notes 82: Letthe 2 quarter notes inthe 15 bar ‘ofthis 2 bar phase ing outa ite belore the hal bar rest and get ance beat going. 10 5 e- Key® This shor phrase, marked "Tx tot Should accordingy only be played on the 2nd time repetison. Ie sounds Best Using 3 Sharp tone with portamento and vibrato.2. —l of al ex® A 83 type electric oman with Lele cabinet produces these notes you dont hhne any hands fee “at this ‘particular moment just ignore the bass notes.Gt@ Take care to accentuate the chordsin. GL®_ : This doubling up sequence with the {© : Alte less portamento inthe synth this bar, banging them in stongly before the bass needs to move tightly but fuendy in part than in ® and an octave diader could following bars es. unison. be used to produce the doubling at the ‘octave. The synth player should aim at riculate phrasing with nice staccato.sony iz 840 In this par the bas pays in unison sth the guitar Watch out forte hammer {sin the 2d bat, making sure hat they fe intghay with the guitar’ whe Keeping the ‘real sound well rounded” ia ianaiae‘SLO: The continuous ath note pattem in Key ® To get a good vibrant sound out of iis opening section ofthe guia solo is, as ° ths thordal fl add a shot ‘of wbtto and you can hear dearyon the recog’, simply punch ut the chonds nicely to support the tne note phrase of DP, Fband Gbrepeated —fullar and sustain the enetgy and times mosphere of ths tea break “4818: Mis run down consists simply of 4 pops of tpl, te accent fling on every Frere2 big booming gissando fora whole bar. You could apply Some rapid pickling ike kindof temolo to add sustain snd meet Stand out. This seems to beon the ah tang a SS = =Fstained te lone Ned over notes mist be Gi: Some icy phases here probably Gx : The gisando begins alter the last crocendong Sel snoabiow te 6 bus, FeaRling Some patice ihe gage, ‘noe in the previous bar AS you at Shogo nese he BOM where shoul be very fl ad shal cee alteady the Tith fet of the A sing lay ae crate ping oases SoMbnaon of datorion and excess oe Sta. he Th sting, The cure inate “eM akeraepicing shouldbe vedio; the CryBaby, hewtclepasgetinnec ke ES {Ough ‘shape’ of the pssande, 4 ‘lmactic guitar ad i thet follows St@ Aman as you ind yoursetin position a with the high Aon the Sth stnng do toe sssando on this sting and to be Sen oes {0 the onginal stn carefully to the recocy ss9. 50: : inthis sowed up big blues ending. accent the 1s beat of the tplets on the ‘mba! par 2: : The ending heve is just a continuous ra played on the cymbals snare and bass dum. To. get a good prominent crashing from the Ejmbals, se’ at many diferent combs as you ca. LO: Use quite fast, aterate picking ‘strokes on this part and damp the sings. t@ Try tosustain these choked’ orbent notes as lang as possible before going Into the nex phase ' ue Be sue that your fingering is wel thought out when ‘coming to play tis 19 1 ‘chromatic, 16th note phrase and ty ta achieve darty and an even pace {GL Another explosive glsando forthe Sth sting tobe delivered th a het sok, GLO The final GP is realy alte slowes than that described inthe score, Arieuie this with a sharp cack on the shah pedal.Take Me With U 6.3904 Controveny MascWamer Chappell Music Lid, London WI 3FA. Worcs and Muse by Mince, Guitar Bb,the album there are two guitars playing, one of them an acoustic guitar. So, I've condensed it own in the core to an arrangement fora single guitar. Almost the entite role ofthe guitar pe frovide back up harmony in the form of summed chords. Often, the actual hamonies ceed to these chords are more complex than the chord symbols themselves imply so pay love staan to the guitar part in the score. Keyboards ‘The main function ofthe keyboards in this songis to supply the string sounds which both colour the pugic and add shape with snatches of counter melody. Although one keyboard is adequate for the Rectal ern 22 2 200d idea to use two synths, each with a slighty diferent string voice fora good textural effect. Bass Cnathe orignal recording this number has a bass synthesise, rather than bass guitar playing the bass cat Toe nel t's Perfectly playable on the electric bass, so have transcribed it into the bass gurtr Fercussion & Drums The introduction demands few quite powertl ‘parades’ onthe tomtom but the rum part fon settles into a routine eight note beat. For the percussion part, a tambourine, a cowbell sag finger cymbals are necessary. TT wg cnain a ine amie 2 keyouds y 12 De® :The above menoned tom-om rl. GL _: On the abum thew chosds a pur contanteampne, fom the bass its adwaabe to make sure you now @acly ployed byoan eae tee owe ate pe hres or ma Re szecmo,guaver_ where the accents must all below you staged’ i one | note fires in the ight hand. not then playing ts ba “evphase he her Fevers wih E20 ‘stu them rom te dep boss aah 20neil helo fond fon , SS = : aT SSS SSS a anions yt ANE dg at i BSS cat oat you LA ee ere cs eae ee ee B4® :A.deep and ich tone suits the bass @a@ : Itcould be a lite dificult to make ape ®@ The tambourine should be ket © par best fr this song especialy fr these good best out ofthis unaccented ow of th) a tat 8 beat er nie eee Feld whee notes in the nto, Fotes, so care is required to keep g00d cowbell need fo combine, precisely for a re There's a sound something like a timing withthe drums ood beat The percussion insuments must lange at hs point which seems, however, fide effectively onthe ehythm and! work all tohave been created by finger cymbals ‘withthe tythm section, a@ SS GLO = The cae to stress this shor phrase . Kay. : This fil in counter melody should _Key@ + 2 diferent keyboards would work ier the chord strumming, fot be played on the 1st ime ound. only weil here; using the let hand for he backing {Comes in on the 2nd ie repeat. This goes chords wile the ght takes up this counter for bots the 4th and &th basin Secon (A) melody, which should feature strongly and imathed ©. Stand’ Out against the main vocal. 22The Beautiful Ones (2 1984 Contoveny MuscWamer Chappell Music Lid, London WY 3A, ‘Wor and Musi by Ponce Guitar With the exception of the middle part of section (D] and the latter partof section (B,there is very litle actual guitar playing on this number.Basically the guitar role consists ofa small doubling up part with the keyboards on a short melodic break and providing an occasional counter melody on the lower strings. Only towards the end does the guitar leave and stand out from the arrangement for ‘some solo phrases in the final section, [C). Keyboards {tis really essential to have two keyboards for this song as there is a demanding variety of sounds to ‘cover as well as three actual keyboard pars. So, for the sake of tone colour and practicality, the best proach isto have two players, one taking cae ofthe piano voice pars and the ther handling the synth lines, Bass A befits this dreamy ballad, the bass just has to bring some deep root notes to the music, while falling well into the background of the arrangement with a leisurely paced minim or half note pest During the intro and section (©) the original bass synth is replaced here in the score by an elecic bass allowing the bassist, witha litle tonal variation, to play throughout the whole song. Percussion & Drums There is quite an effective use of percussion and drums on this track both in terms of phrasing and ‘Combination of sounds; None of the parts are vey dificult but they work nicely, holding down 2 steady beat built around simple, repeating pattems, The only real deviation from ths s the use of the ‘cymbals to help bring on the crescendo in section [E (we ’ re ransle® a ae SS SS _ =i Sth percussion & wed here for OTe skin of his tomtom wantsto be Key.® + Some sor of brass, oF perhaps we “answering pattems to the bass. tuned up to produce a taut higher pich tembone ype woe wih oaak eee un, Meaty: substitute tomtom in "sound, thus geting somewhere neat the some ight Ranging should bine en coeng the 1S bat and-a maraca of shaker in the onginal the sound made on the record 2nd, oF if not avalable use an empty can ied with dred nee! | 28$= See Pree s y Pace g Feat read ate Feaaa ne ee TEE noe STE E ge eae mes meas J} 7 ra==] ee tO ttt SSS =r 2 , SSS SSS Sa= S40. :Asmentioned above they are using Key® On top ofthe rather bight electric Key@® ~The sing voices inthis prt would a bas synthesise ere but, # you can vary plano and vibes sound, add some delay and also Benet torr uns V@ht ae a Your tone in this par, I should sound fine reverb toobtain that ngngedetothefone, decay Wine and site Maaco than elect bas, but not too much or the 8 note chords may sound thats not foo hey boecome indistinct, which must anyway be layed with some precision 29 See ke oy ‘These rater long half notes in the bass line need tobe sustained ong enough Unt they fallback onto the following quater note, 6a fch “and full bass tone ‘recommended here e re) ahs Pant pte pee Key® : After the DS. leads you into the 3d time repeat ofthe verse, the backing synth Dat takes on a counter melody, writen here in small notation, that is harmonised in unison by the electic piano Listen closely © the album for similar resus. 30 De®: The cymbal crash should be let» fing out and nae dampened ast shoul camp though forthe duravon of 3 half noterao tal vm pad” wae th et bs, y® If you can, use an acoustic or Or@ Flom this point onwards for B bas GL® _: A chorus and compressor here téecic piano for tis brief but noticeable there is no snare rum in the drum par, should help you to get something ike the leybonrd solo. which could throw you off a litle in Your recorded guitar sound inthis unison passage Timing between the keyboards and guitar 31vara" ran ral oe eee dee 7 Gt@ The guitar sound on these cimactic Key@ —_: The stings sounds gadually 0. : Double bass drums are, need! chords ‘requires plenty "of dstotion, increase thelr share ofthe sound during the say, the best things to use for this her ‘specially asthe climax progresses. buildup ofthis climax, making tadvsable to beat roll on the base cum, fo foras ach a tone as possibe, boosting the Stings and using te volume pedal t0 work {Up a wadual cescendo. 32ew a a resem rad hg og rated) ob by Sty then Zine muy nota nem gee Ne 0: FTTIThe st fourbest goun of th GL: In this lengthy, slow moving retain tales, shouldbe played ontheside cymbal the gular i rust key an even pac on ted TTT the 2nd goup On the top shorter notes and avoid racing fou the ‘nal {ih note nun down, 33eid Cd e rece aad" o éo ee colt ruaca™) oh gb rea resal™) h gh 20 7 Gi _ This descending 32nd note pattem 's simply 26 note run down repeated a few times this pa causes any problem, jst practice the- 6 notes to get the ‘ingen, Sorted out before joining tall together 4.0 : Hold down the inal half note as longWhen Doves Cry © 1984 Contoveny Music/Wamer Chappell Music Lt, London WTY 3A Words and Muse by Prince Guitar ‘The guitar takes only a minor role in this song as itis deliberately sparse with the vocal chorus and keyboards providing enough harmonic accompaniment. There are just two sections that involve the guitar, the opening bars in which the guitar introduces the song on a couple of erratic, noty phrases, and section [G], which highlights a faify short solo. As ever, the guitar sound opts for heaps of overdrive, Keyboards Not only is there no bass or guitar in the song backing the keyboardist also gets a rare solo part in section {D). Given the presence of the vocal chorus, the keyboard part chiefly features a stabbing three chord figure that stands out nicely in the sparse arrangement, along with a series of ampeggios that accompany the vocals. Percussion & Drums —_In the percussion part they seem to be using.a synthesiser or an electronic drum with a hi-hat and a lapping sound, produced either electronically or by a miked up hand clap, If you are keen to reproduce this, then a microphone, with reverb or delay added and a couple of people clapping should do it. The simple drum pattem remains constant throughout the song but it has to fuse effectively with the percussion to create one single rhythm. 8.0 Its difcut to distinguish the 1st Fare: Described on the score as “synth OL: Although this is just a single bass ‘ote cealy from the record and transcribe percussion,” this is basicaly an electronic drum line, thas to be soldy on the tythen the whole’ phrase nicely onto a score. So drum sound, using up t 3 diferent types of listen dosely to the record t0 check tang by ear as well as eye the Voice sounds 55Game g eg Bre Dee U wt dep ee [=z] hiss a combination of siding and GL® : Asin @, dont get too entangled in GL@_: A wab-wah pedal here and in the 3 scratch strumming on damped stings. He ~ the score finding your way through the previous basis usell fr matching the art Soemsto play the middle? notes the 2nd of timing and phrasing of these 5 and 7 note tng guitar sound on the album tack. The beat and 3rd beat at 6/12 with the sting groupings. Preferably, listen to the ack and _glsando on the last A note fs probably best muted moving then to 5/2 forthe 2 low 8 get thereby feling your way. fexecuted at 6/5, rather than as shown in the ‘abulatue. 56by orem v ‘Tay fo te heat 21 =I SSeS La mee heey tated oly nm es@ :Fiom ths point, the tone needs to bbesotened into a muted piano like sound. However the right hand Staccato must be 59Coda am bm Dieta cesta U ev sen dota pide PY owean Ua have me wind = i Drs ey: Very slowiy add vibrato and chorus cect to create a gently switing stings Sound, but endeavour to Keep the fel ight 60 sOr: For the next & bar, only the bass ‘dum splayed. Take care to hold the tythmn nicely and not to lose ton the of beat 6a moe on 6263os 64An om e ae 2-0: See point @. Key ® : Play this solo with the synth settoa bright accordion type voice and mi in some Prtamento while maintaining the saccate playing 6566ae — eS Se == Fc = Be sure to end confidently on the of beat of these 3 closing quaves. De® Finishing the drum part withthe bass cum on the Tst beat of ths bar theres no ned to accent ey nthe right hand there are 2 voices, the top melody using the voice In ©, and the lower ascending line takes the chord ppasage sound in @ while the lefthand plays the stings sound in'®. 1 ciffcut, ask the pularst to help you out 7I Would Die 4 U © 1984 Controveny MusirWamer Chappell Music Ld, London WIY 3A, ‘Wores and Muti By Prince Guitar Keyboards Bass Percussion & Drums ‘Another number with a limited role forthe guitar. Only in section (BJ, towards the end of the song, is the guitar used in the arrangement for some thythmic, chopping chords. light and natural Telecaster sound is required for this song. ‘The formation of the keyboard parts straightforward enough, founded around chord figures echoing the vocal on the chorus and taking a chordal middle eight after the second chorus. The rapid, single note synth bass line should be produced by connecting up a sequencer and given a slightly shampened tone to make it distinct within the overall band sound, ‘There are in effect two bass lines, one from the sequenced synthesiser and the other from an electtic ’bass guitar which sticks around a simple two notes per bar pattern. Itis important to weld the electiic ’bass sound firmly with the synth bass and the bass drum, on the beats where they coincide, so that they form a solid, single beat. There is nothing particularly dominant or outstanding in the percussion part, The same goes for the ° oon fen fend) fond) Jou amas ihe ep Set tty Sime vey Bem pS a eo Pt = aa ©<@ The cymbals on the ‘st and last Key! This synth solo should only be Key These back up chords should be lft ‘quaver beats want fo be accented, performed the id time around in’ ths out on the Tst run through and just used on Fepeating reftain. Poramento should be the 2nd and 3rd time repeats added t0 the synth voice 80o08) fond font ons) donb fond) _ Coeiak tng a =a : pie t “a &, 2: : When playing this cymbal crash on GL. : you want to, you can leave out the the 2nd beat, the side cymbal should be hit one and a half beat rest before the © chord with the ght hand "and then muted Slide and sick i's te beginning of the bar afterwards wath the left hand! instead," a dn some) fond) fon fond) fond) , {ond {onal nA} fon ot ln one) ome), donalsenal, gona) (or y a 82avg Comet © 1984 Controversy MusichWamer Chappell Muse Lt, London WIY 3A Words and Musi by Prince Guitar Keyboards Bass Percussion & Drums For the first half ofthe song, up towards the end of section I, the guitar provides the harmony inthe shape of chord back up. Using a chorus pedal and clean tone, the guitar forms half arpeggio/half strummed chords, often sounding the root fst and then adding the remaining notes, sometimes in different combinations later in the bar. In the latter half, the farliar distorted tone emerges and the fuitar gradually leaves the back up, via some counter sifing, and comes to dominate the piece with an imposing solo, ‘Puzple Rain’ gives the feeling of being much more strongly based around the guitar than most of the other numbers from the album, The keyboards tend to take back seat in this guitar ballad, concentrating more on long sustained string chords and slow, bassy counter melodies. But they nevertheless have a strong presence in the ‘music, especially when the band arrangement thickens up to support the climactic guitar break. Having just strings and piano to cope with, there is only need for one keyboardist. In the bass part, long held root notes provide a deep, booming backdrop without ever ceally developing into a line, except for a litle doubling on one of the main themes at the end of the refrains. This does, however fit perfectly with the song, leaving reams of space for the low sting lines and the guitar, as well as underpinning the slow tempo. Like the bass, the drums work so as not to clutter up the ensemble sound, The second and fourth beats are continually stressed by a heavy, dragging. snare drum, that stands out in the music and makes the slow beat stagger for a moment, keeping the slow tempo on course. The bass drum patterns do vary subtly from time to time and should be followed closely, ond” F bea Gi@ Take care with the chord O@ _: The snare falling on the 2nd beat cembelishments and the fight hand stokes needs bold smash to make it relly ing out is described in Song Introduction. Use a The revese echo on the 3rd beat is purely horus pedal and Isten closely tothe albus production technique. for these opening bas. 83ahi 1 ont) wane {5t@ : Stroke these chords slowly from 6th to 1s sting lke a ld ampeggi. Sah cece sane 02 meu Boge ey: This typical Fender Rhodes sound on the elecie plano wants a shallow tremolo setting to create a slighty oscilatng litt the sound. The touch should abo be light. 84 ° fate ieee Pa pe 1820. : Agood booming and resonant bass sound needs tobe achieved here and throughout the song.« = — = TS Te = i$ “Dine ¥ Same g score. AS ttf -@ Tyan get consistent accents on the bshat, as" matked "on the mentioned, the snare dram beats must stand ‘ut very strongly. Conventional Te. hand snare and right hand chat is the most rf tO: Accent and make this chord stop dead straight after you hit, as occurs on 3 kind of hal crescendo in the musi. a B2@ -: This BD muting (se also Gt @ 1 ——' 0? gi ont" FEL FR TF ~ caste feels: ee 20, = et casing ne yal mute # sy soi mai esting 0 hay, A a he nox 6 ae tn {hou ean A ene HMuock meters, SO fe es Sar Bt inthe band Rave to rest on the 4th beat of than an orchesta. The sound should be as dstorion from the amp. this bar, so Careful timing ts needed on the lose as possible to rel strings, with atte reenty ‘thoughtal vibrato to get an authentic fee, 86ond" F e B2@ : In the DSS. repeat, the F notes _GL@ From here on, a gradual crescendo whimsical switch octaves builds up inthe gultat par withthe sound completely going over to thick distortion, 87288e e emf” rcpt Ran ar pe a, 1 only 02 tonya ae Ut he Ppl a 29o ae ond” rm 20: Don't fomget the litle 1st sting slssando at the end ofthe bat. SFR. t t r@ : Watch out for vations in the bass cum pattem over these bar, keeping 3 nce, Steady hishat going with aside cymbal rash at the beginning of each bar 90 no GLO: A very noty phrase. Take care over fingering. and have a cose look at the tabulate in order to get the fet position ghté Pas oni” aF e cher oh oe tO; This ensemble unison brings the guitar solo to an end, so make sure the guitar Enter it well, 20 a8 to Found the solo off eel. 8.9 : Big unison ensemble on tis lead out phvase, Pay it with dramatic stress, drawing Sut the notes a bit. Although the tabulature Shows an open D, it would probably sound stronger at postion 3/5, ©,@ _: The most demanding piece of cirumming inthe song, The rythm between base and snare looks awkward, but is easier to work out you hear itin your head. The balance between the drums must be well ante.Beene Cae eae gh ee ont Key@_: On the album, there is actually an ‘extended, and probably party, imorovsed, keyboards coda after the final Bb chord. ve decided to leave this out and arrange an ending based on the arpegzo figures played. 93