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---TRANSCRIBED BY DOUG LAS J NOBLE----

CONTENTS FOREWORD PETER GREEN NOTATION SYMBOLS STYLE ANALYSIS BLACK MAGIC WOMAN NEED YOUR LOVE SO BAD MAN OF THE WORLD LOVE THAT BURNS THE SAME WAY I LOVED ANOTHER WOMAN SOMEDAY AFTER AWHILE (YOU ' LL BE SOR RY ) STOP MESSIN ' AROUND THE SUPERNATURAL THE STUMBLE T HE GREEN MANALISH I (WITH T HE Two PRONGED CROWN ) OH WELL (PART 1) OH WELL (PART 2 ) DRAGONFLY ALBATROSS DISCOGRAPHY

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66 69 72 87

First Published 1990 © Copyright Interna tional Music Publications INSTANT PETER G REEN ISB N 0 R63 59 733 5 Order Ref: 17 1972 15-2-599 Exc lusive Distributors Internati onal Music Publicat ions Southend Road. Woodford Green. Essex IGIl RHN . England. All ri ghts reserved, 0 part of thi s book may be reprod uced in any form or by any electronic or mec hanical means. includi ng information storage systems without pe rmi ssio n in writing from the publishers, Edilol': Peter Foss Trlllls(,l'iplio/ls : Douglas J Noble ClI\'el' Desigll : Ian Barrett CII\'('I' PholilgraphL' Ron Goldby Pmdll('lioll : Peter White

2

FOREWORD

Transcribing is a subjective skill open to the individual's personal interpretation. Whilst the transcriptions in this book are intended to be as accurate and as accessible as possible, they are best studied in conjunction with the appropriate recordings in order to appreciate nuances which defy exact notation . Furthermore, subtle changes in dynamics and the precise speed and depth of a particular vibrato are not normally included in transcriptions in order to avoid making them over-complex. A musical aspect present in the Blues-based solos which defies exact notation is phrasing which is slightly behind or ahead of the beat. This was used by Green to great effect in this earlier work. It is an interesting paradox that whilst Blues is often regarded as a "simple" musical style in terms of form and harmony, the greatest and most expressive proponents of the style are often impossible to capture accurately in notation due to a fluid approach to phrasing. Similarly, in common with other Blues players Green made great use of quarter tone bent notes and other "less specific" notes which are difficult to notate precisely. Douglas J. Noble is a musician based in E9inburgh . This is his second book for International Music Publications. The author would like to thank Neil Munro, Neville Marten , Paula Chandler and Bob Brunning (the original bassist in Fleetwood Mac) for their kind assistance.

PETER GREEN

Peter Green was born on 29th October 1946 in Bethnal Green , London. One of three brothers in a poor Jewish family, Green started to play the guitar at the age of eleven . Initially inspired by Hank Marvin from the Shadows, Green began to listen to Blues greats such as Muddy Waters, Freddy King, Buddy Guy and B.B . King. Ironically enough , he was also inspired by Eric Clapton and even bought a Gibson Les Paul guitar because Clapton played one . Green's first major musical career break came at the age of nineteen in Summer 1966 when John Mayall, a leading figure on the British Blues scene, asked him to join the Bluesbreakers following Clapton's departure to form Cream . A more than adequate replacement for Clapton, Green soon established his own identity with emotive, fluid phrasing and imaginitive compositions. Green recorded one album with Mayall entitled "A Hard Road" which featured the songs "The Stumble", "The Same Way", "The Supernatural" and "Someday After Awhile", all included in the following transcriptions. After only a short period with Mayall, Green began to feel the constraints of playing in the Bluesbreakers,. which was essentially Mayall's band. Consequently Green left to form Fleetwood Mac with drummer Mick Fleetwood, slide guitarist Jeremy Spencer and bassist Bob Brunning who was later replaced by John McVie. Green had previously played with Fleetwood and McVie in the Bluesbreakers. Fleetwood Mac's first album "Peter Green's Fleetwood Mac" was a collection of mainly purist Blues songs, represented here by "1 Loved Another Woman" which shows Green starting to experiment with the Blues structure. Reaching numbp.r 4 in the UK album charts, this was followed by the successful singles "Black Magic Woman" and "Need Your Love So Bad". Fleetwood Mac's second album "Mr Wonderful" was in a similar Blues vein, including the songs "Stop Messin' Round" and "Love That Burns". After this album Green started to break away from the restrictions of the Blues format with the singles "Albatross", "Man of the World", "Oh Well Parts 1 & 2" and "The Green Manalishi (with the Two Pronged Crown)", which bore little or no sign of the band's Blues roots. Green left Fleetwood Mac in spring 1970 partly due to the restrictions imposed by working in a conventional rock band and partly due to feelings of guilt about his large income, which he felt was unjustified. After a patchy solo career personal problems and illness have sadly taken their toll on Green's creative talent to the extent that he no longer plays the guitar nor shows any interest in music.

STYLE ANALYSIS

5

Peter Green was not a virtuoso guitarist nor did he possess in-depth knowledge of music theory. However, his taste , restraint and overall "feel" more than compensated for these potential shortcomings. Green's style can by analysed in five main areas as follows .

1. Blues Vocabulary Most of Green's lead playing uses the Blues scale , the Pentatonic Minor scale or the Pentatonic Major scale - the standard scales used in Blues. Occasionally Green freely and fluently mixes these three scales , such as in "The Stumble", whilst certain minor key songs such as "Black Magic Woman" use the Blues scale only. Green demonstrates a firm and natural grasp of the standard Blues licks. These are two of the more prominently used licks, the first from the "E" Blues scale as used in bar 40 of "The Stumble", the second from the "A" Pentatonic Major scale as used in bars 112 of the Solo from "Need Your Love So Bad"

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3. Phrasing Green occasionally timed phrases either slightly in front of the beat or slightly behind the beat. Used sparingly, this flexible approach to timing adds extra emotional depth to a phrase . "Love That Burns" features a more extreme usage of this type of phrasing , to the extent that the phrasing occasionally leaves the underlying pulse altogether.

4. Expression Most of Green's solos use vibrato , dynamics and accents to compliment the actual notes played . The more apparent examples of each are notated in the transcriptions, but to appreciate the more subtle instances in which Green uses these techniques it is necessary to listen closely to the records.

5. Equipment Green's main guitar was a sunburst Gibson Les Paul Standard. The pickups on this guitar had been accidentally wired out of phase giving the guitar a distinctive tone quality, as can be heard on "Need Your Love So Bad". This guitar is currently owned by Gary Moore. Green used a variety of amplifiers during his musical career, including Vox, Orange, Fender and Marshall amps.

BLACK MAGIC WOMAN

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Words and Music By PETER A GREEN

Peter Green's "Black Magic Woman" demonstrates his use of the "D" Blues Scale in a non-Blues chord progression . The phrasing is fairly fluid in bars 2/3, which are played behind the beat. From bar 15 to bar 20 many subtle nuances can be heard in the timing of phrases . Reverb is added to the guitar at the beginning of the second half of the solo in bar 12.

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This Peter Green song uses an unusually-Iengthed 11 bar chord progression with the Blues chords of I, IV and V. In this solo Peter masterfully interweaves the "A" Pentatonic Major scale with the "A" Blues scale. Bar 5 - The riff in this bar is played by the rhythm guitar, linking the "I" section ("A" chord) with the "IV" section ("D" chord). Bar 10 - The lead guitar drops in volume from beat 3.

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Words and Music By PETER A GREEN

This Peter Green song is similar in style to "Black Magic Woman ", both songs using non-Blues 12 bar progressions in Om with Chords I, IV and V. Since there is not a rhythm guitar on the Intro or the Solo the chords given are those used in the verses. The echo on the guitar gives the impression of notes ringing-on for longer than they are held. Peter makes much use of dynamics in this song , occasionally dropping the volume to being barely audible.

Intra Bar 10- Peter ends this phrase slightly behind the beat. Solo The first 11 bars are a restatement of the Intro melody with slight variations Bars 14115 - This phrase is played slightly behind the beat. Bar 16 - Again, this phrase is behind the beat. Bar 17 - Peter plays this phrase very freely, again behind the beat.

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"Stop Messin' Round" is a straight-forward medium tempo shuffle Blues written by Peter Green and his then manager Clifford Adams . He uses the "C" Blues scale and the "C" Pentatonic Major scale . The "Bb" and "C" two note motif in the Intro is repeated at the beginning of the 1st and 2nd Solos, albeit in a slightly altered form .

2nd Solo Bar 2 - The open "B" was presumably played by mistake, the most likely intended note being a "G" on the 2nd string 8th fret. Bar 6 - The unclearly sounded note was probably an "Eb ". Bar 23 - The closing phrase is played in front of the beat.

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