2
FOR WHAT IT'S WORTH Words and Music by Stephen Stills
----------------------------- ·----------------------------Buffalo's only big hit, For What It's Worth was written by Stills after witnessing the L.A.P.D.'s heavy-handedness at breaking up an anti-Vietnam student demo on Sunset Strip. Perhaps one of the mildest protest songs ever penned, For What It's Worth was immediately embraced by West Coast students as a 'peacenik' anthem, and on its release as a single, rocketed to no. 7 in the US charts. Its success caught Atlantic Records off-guard, and copies of Buffalo's first album were swiftly withdrawn and re-pressed to include the song.
.
------------------------------
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6
SIT DOWN, I THINK llOV~ YOU Words and Music by Stephen Stills
. .
------------------------------ -----------------------------Stephen Stills was regarded as something of a songwriting prodigy in his youth, and had already sold Sit Down, I Think I Love You to the Mojo Men by the time Buffalo Springfield was formed. As with much of Still's work, its appeal rests in its simplicity.
------------------------------ ------------------------------
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10
MR. SOUl Words and Music by Neil Young
.
----------------------------
Early in 1967, bassist Bruce Palmer suffered a drug bust in New York, forcing Buffalo to hire an immediate replacement to fulfil their live commitments. A string of bassists came and went over the next few months, including (in one TV appearance) the band's manager! Amidst all this turmoil, Neil Young wrote the extraordinary Mr. Soul. Although the guitar riff could have been seen as a re-working of The Rolling Stones' Satisfaction, the lyrics of the song plumbed new depths, exploring the relationship between the star and his audience.
.
----------------------------
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ACHilD'S ClAIM TO FAM~ Words and Music by Richard Furay
.
------------------------------
The pressures of fame hinted at by Neil Young in Mr. Soul finally caused him to quit Buffalo Springfield in early 1967. The band shipped in ex-Daily Flash member Doug Hastings to replace him, and continued to work on their second album. Amongst Richie Furay's contributions to these sessions was the rather bitter and heavily countrified A Child's Claim To Fame. Furay's affinity with country music came from playing with bands like the Au Go-Go Singers and continued, after Buffalo, in Poco, the Souther Hillman Furay Band and the Richie Furay Band, although success in this idiom more or less eluded him.
.
------------------------------
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fXPfCTING TO fLY Words and Music by Neil Young
·---------------------------Neil Young's exquisite Expecting To Fly was written and recorded during his absence from Buffalo in 1967. The superbly atmospheric orchestral arrangement was contributed by Jack Nitzsche, famed for his work with Hale and The Hushabyes, Phil Spector and Brian Wilson. Young and Nitzsche subequently worked together on Whiskey Boot Hill and Slowly Burning, a cut which Young re-worked as Long Walk Home for his 1987 album, Life.
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BLU~BIRD Words and Music by Stephen Stills
.
------------------------------
What sounds like a four-square Stephen Stills rocker turns out to be a meandering mini-epic, peppered with banjo and lengthy guitar solos. Inspired by singer Judy Collins, Bluebird originally ran to nine minutes, but was edited to its current length (via a rather messy, short-lived two minute version) for Buffalo Springfield Again, the group's second album. Stills was particularly proud of the complex guitar work on the song, claiming in the album's liner notes that no fewer than 11 ,386 guitar parts appeared on the recording. The song was released on a single along with Mr. Soul, but only managed to climb to no. 58 in the US charts.
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29
HUNG UPSIDf DOWN Words and Music by Stephen Stills
. .
------------------------------ -----------------------------Hung Upside Down comes from Buffalo Springfield's second, and best (if most fragmented) album, Buffalo Springfield Again. The band's name has always aroused interest and, according to Richie Furay, was the nameplate on the side of a steamroller on Fountain Avenue, L.A., where he used to live. Buffalo courted odd legends like this: Neil Young drove around in a hearse, and met Richie Furay and Stephen Stills in a traffic jam.
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32
ROCK AND ROLL WOMAN Words and Music by Stephen Stills
--------------------------- ·-------------------------Ex-Byrds member David Crosby is the uncredited co-author of this song, around whose vocal riff Stephen Stills wrote the number. Crosby appeared very briefly with Buffalo, at Monterey in June 1967, during that summer's multiple-bass-player fiasco, and his relationship with the band continued well into the 1970s, in various incarnations of Crosby, Stills, Nash and Young. He also produced Joni Mitchell's first album, Songs To A
.
Seagull.
------------------------------
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37
Notation and Tablature Explained Open C chord
Scale of E major
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~ High E (I st) string
"W -
4-----;= :::::= ~~~~~~~~~~~~~~~~~~~~~1§~~/ ____ ~ 1~
G (3rd) string D (4th) strffig B(2nd)strmg :::::------ A (5th) string " - - LowE (6th) strmg -
1
Bent Notes
J4 .Jo
1
The note fretted is always shown first. Variations in pitch achieved by string bending are enclosed within this symbol : - :. If you aren't sure how far to bend the string, playing the notes indicated without bending gives a guide to the pitches to aim for. The following examples cover the most common string bending techniques:
Example 1 Play the D, bend (two half-steps) to E.
up
one
Example 4 Pre-bend: fret the D, bend up one tone to E, then pick.
tone 3l-5
Example 2 Play the D, bend up one tone to E then release bend to sound D. Only the first note is picked.
t)
ExampleS Play the A and D together, then bend the B-string up one tone to sound B.
I
~~
12
Example 3 Fast bend: Play the D, then bend up one tone to E as quickly as possible. 3
Example 6 Play the D and F# together, then bend the G-string up one tone to E, and the B-string up a semitone to G.
5
\
Additional guitaristic techniques have been notated as follows: \..._ "a) •
\..._ ~b)
~! f-ir----12
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•.
1#-
Mutes a) Right hand mute Mute strings by resting the right hand on the strings just above the bridge. b) Left hand mute Damp the strings by releasing left hand pressure just after the notes sound. c) Unpitched mute Damp the strings with the left hand to produce a percussive sound.
·-!'- .-!'-
a) .······
..•
--T-a--1D-----B-
"
Tremolo Bar Alter pitch using tremolo bar. Where possible, the pitch to aim for is shown. a) Play the G; use the bar to drop the pitch to E. b) Play the open G; use the bar to 'divebomb', i.e. drop the pitch as far as possible.
Hammer on and Pull off Play first note, sound next note by 'hammering on', the next by 'pulling off'. Only the first note is picked.
/fl
b)
-T--1-12-8-12-
Glissando a) Play first note, sound next note by sliding up string. Only the first note is picked. b) As above, but pick second note.
38 a) 0
L
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...
b)
8
"
Natural Harmonics Touch the string over the fret marked, and pick to produce a bell-like tone. The small notes show the resultant pitch, where necessary.
Slide Guitar a) Play using slide.
b) Play without slide.
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Artificial Harmonics Fret the lowest note, touch string over fret indicated by diamond notehead and pick. Small notes show the resultant pitch.
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12
Vibrato Apply vibrato, by 'shaking' note or with tremolo bar. As vibrato is so much a matter of personal taste and technique, it is indicated only where essential.
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Pinch Harmonics Fret the note as usual, but 'pinch' or 'squeeze' the string with the picking hand to produce a harmonic overtone. Small notes show the resultant pitch.
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1
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Pick Scratch ·Scrape the pick down the strings - this works best on the wound strings.
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6
56-
Micro tones A downwards arrow means the written pitch is lowered by less than a semitone; an upwards arrow raises the written pitch.
\
Special Tunings Non-standard tunings are shown as 'tuning boxes'. Each box represents one guitar string, the leftmost box corresponding to the lowest pitched string. The symbol '•' in a box means the pitch of the corresponding string is not altered. A note within a box means the string must be re-tuned as stated. For tablature readers, numbers appear in the boxes. The numbers represent the number of half-steps the string must be tuned up or down. The tablature relates to an instrument tuned as stated.
Repeated Chords To make rhythm guitar parts easier to read the tablature numbers may be omitted when a chord is repeated. The example shows a C major chord played naturally, rlh muted, 1/h muted and as an unpitched mute respectively.
Tune the low E (6th) string down one tone (two half-steps) to D.
Chord naming The following chord naming convention has been used: c~~~~~~~~~~m~~~~~~~~~~~~
*iii 1 ttQ~Q; iill1·1~1ttjttj#i 1'~1~, Where there is no appropriate chord box, for example when the music consists of a repeated figure (or riff) the tonal base is indicated in parenthesis: [ C]
Where it was not possible to transcribe a passage, the symbol "' appears.
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39
Indications sur Ia notation tnusicale et les tablatures Accord de Do majeur ouvert
Gamme de Mi majeur
-
II
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~ Mi aigu: !ere corde _ Si: 2e corde
::::= ° :::----~~~~~~~~¥~~~~~~~§ii~~§~4~--+-~0-~ 1 ~
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2 .LJ4
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1
Bending
"-----
Re: 4e Sol: 3e corde corde La: 5e corde Mi grave: 6e corde
La note correspondant a Ia case sur laquelle on pose le doigt est toujours indiquee en premier. Les variations de hauteur sont obienues en poussant sur Ia corde et sont indiquees par le symbole: : - :. En cas de doute sur Ia hauteur a atteindre, le fait de jouer les notes indiquees sans pousser sur Ia corde permet de trouver ensuite Ia bonne hauteur. Les examples suivants demontrent les techniques de bending les plus courantes.
II
Exemple 1 Jouez Ia note Re et poussez Ia corde d'un ton (deux demi-tons) pour atteindre le Mi.
Exemple 4 'Pre-bend': posez le doigt sur Ia case de Re, poussez d'un ton pour atteindre le Mi avant de jouer Ia note.
31-5
Exemple 2 }ouez le Re, poussez sur Ia corde pour atteindre le Mi un ton plus haut, rel:khez ensuite pour revenir au Re. Seule Ia premiere note est jouee avec le mediator.
Exemple 5 Jouez La et Re simultanement; poussez ensuite sur Ia corde de Si pour atteindre Ia note Si.
Exemple 3 'Fast Bend': jouez le Re et poussez le plus rapidement possible pour atteindre le Mi.
Exemple6 Jouez Re et Fa# simultanement; poussez Ia corde de Sol d'un ton vers le Mi, et Ia corde de Si d'un demi-ton vers le Sol.
Ill
f-T---3
5
D'autres techniques de guitare sont notees de Ia fa~on suivante: \.._ I /i a) 111.
\.._
11- b)
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Emploi du levier de vibrato Modifiez Ia hauteur du son avec le levier de vibrato. Lorsque c'est possible, Ia note a atteindre est indiqm!e. a) Jouez le Sol et appuyez sur le levier de vibrato pour atteindre le Mi. b) Jouez un Sol a vide et detendez le plus possible Ia corde avec le levier de vibrato pour rendre un effect de 'bombe qui tombe' (divebomb).
•.. ·······~··········
-T---8--18---8-
II
...,
b)
c)
+ + +
~!-----1? 5
I II
Hammer On et Pull Off Jouez Ia premiere note; frappez Ia corde sur Ia touche (Hammer On) pour obtenir Ia seconde note, et relachez Ia seconde note en tirant sur Ia corde (Pull Off) pour obtenir Ia troisieme note. Seule Ia premiere note est done jouee avec le mediator.
a)
a) .······
b)
,;;--f'- .• --fL
rf--8-12-8-12-
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Mutes (etouffements) a) Mute de Ia main droite Etouffez en posant Ia main droite sur les cordes, au-dessus du chevalet. b) Mute de la main gauche Relachez Ia pression sur Ia corde juste apres avoir joue Ia note. c) Mute sans hauteur definie Etouffez les cordes avec Ia main gauche pour obtenir un son de percussion.
Glissando a) Jouez Ia premiere note avec le mediator, faites sonner Ia seconde note en ne faisant que glisser le doigt sur Ia cord e. b) Comme ci-dessus, mais en attaquant egalement Ia seconde note avec le mediator.
40 a) L
0-
0
...
Harmoniques naturelles Posez le doigt sur Ia corde au dessus de Ia barrette indiquee, et jouez avec le mediator pour obtenir un son cristallin. Le cas echeant, une petite note indique Ia hauteur du son que !'on doit obtenir.
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b)
8
111
Guitare Slide a) Note jouee avec le slide. b) Note jouee sans le slide.
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7
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I
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V
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Harmoniques artificielles Posez le doigt (main gauche) sur Ia note Ia plus basse: effleurez Ia corde avec !'index de Ia main droite au-dessus de Ia barrette indiquee par Ia note en forme de losange, tout en actionnant le mediator. La petite note indique Ia hauteur du son que !'on doit obtenir.
o_-
--k--t
~-
12
Effet de Vibrato Jouez le vibrato soit avec le doigt sur Ia corde (main gauche), soit avec le levier de vibrato. Comme le vibrato est une affaire de technique et de gout personnels, il n'est indique que quand cela est vraiment necessaire.
L
=
" ra--------5-6--5-6-
Harmoniques pincees Appuyez le doigt sur Ia corde de Ia fa~on habituelle, mais utilisez conjointement le mediator et !'index de Ia main droite de fa~on a obtenir une harmonique aigue. Les petites notes indiquent Ia hauteur du son que !'on doit obtenir.
Scratch Faites glisser le mediator du haut en bas de Ia corde. Le meilleur effet est obtenu avec des cordes filetees.
Quarts de ton Une fieche dirigee vers le bas indique que Ia note est baissee d'un quart-de-ton. Une fieche dirigee vers le haut indique que Ia note est haussee d'un quart-de-ton.
Accords repetes Pour faciliter Ia lecture des parties de guitare rythmique, les chiffres de tablature sont omis quand !'accord est repete. L'example montre successivement un accord de Do majeur joue de fa~on normale, un 'mute' de Ia main droite, un 'mute' de Ia main gauche et un 'mute' sans hauteur definie.
Accordages speciaux Les accordages non-standards sont indiques par six cases, chacune representant une corde (de gauche a droite), de Ia plus grave a Ia plus aigue. Un tiret indique que Ia tension de Ia corde correspondante ne doit pas etre alteree. Un nom de note indique Ia nouvelle note a obtenir. Pour les tablatures, les chiffres indiques dans les cases representent le nombre de demi-tons dont ou doit desaccorder Ia corde, vers le haut ou vers le bas.
Accordez Ia corde de Mi grave un ton plus haut de fa~on a obtenir un Fa#, et Ia corde de La deux tons plus haut de fa~on a obtenir unDo#.
Noms des accords c~~~~~~~~~~~~~~~~~~~~~~~
' l 4 g 1 t ij 4 ii fit l 1•1 ~1 tt~~t1 I 1tl ~1 ~!J I J Lorsqu'aucun nom d'accord precis n'est applicable, par exemple quand Ia musique consiste en une figure repetee (riff), le centre tonal est indique entre parentheses: [ C]
Lorsqu'un passage n'a pas pu etre transcrit, le symbole "' apparait.
41
Hinweise zu Notation und Tabulatur Offener C - Dur - Akkord
;,..
E - Dur - Tonleiter
=l:::±::±--:l-7#•
~ Hohe E-Saite (I.)
7 # -.- -
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Gezogene Noten
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2
•
1
_
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oj
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1
-
G-Saite (3.) H-Saite (2.) D-Saite (4.) A-Saite (5.) "------ Tiefe E-Saite (6.)
Die gegriffene Note wird immer zuerst angegeben. Das Zeichen : - : zeigt eine Veriinderung der Tonhohe an, die durch das Ziehen der Saiten erreicht wird. Falls Du nicht sicher bist, wie weit die Saite gezogen werden soli, spiele die entsprechenden Tone zuniichst ohne Ziehen; so kannst Du Dich an der Tonhohe orientieren. Die folgenden Beispiele geben die gebriiuchlichsten Techniken zum Ziehen wieder:
,~,..
tJ
Beispiell Spiele das D und ziehe dann urn einen Ton (zwei Halbtonschritte) hoher zurn E.
..------.,
....,..--i
i
Beispiel2 Spiele das D, ziehe urn einen Ton hoch zum E und dann wieder zuriick, so daB D erklingt. Dabei wird nur die erste Note angeschlagen.
3
Beispiel4 Im Voraus gezogen: Greife das D, ziehe urn einen Ton hoher zum E und schlage erst dann die Saite an.
3t--5
tJ
Beispiel S Spiele A und D gleichzeitig und ziehe dann die H-Saite urn einen Ton nach oben, so daB H erklingt.
I
~l
Beispiel6 Spiele D und Pis gleichzeitig; ziehe dann die G-Saite urn einen Ton nach oben zum E und die H-Saite urn einen Halbtonschritt nach oben zurn G.
Beispiel3 Schnelles Ziehen: Spiele das D und ziehe dann so schnell Du kannst urn einen Ton hoher zum E.
5
\
Zusiitzliche Spieltechniken fiir Gitarre wurden folgendermaBen notiert:
,..a>'•.
'-
~b)
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II
a) .......
•.. ·······-:,;:. .. ·······-.
rf--B--1G---B-
Dampfen a) Mit der rechten Hand Diimpfe die Saiten, indem Du die rechte Hand einfach oberhalb der Briicke auf die Saiten legst. b) Mit der linken Hand Diimpfe die Saiten, indem Du den Druck der linken Hand lost, kurz nachdem die Tone erklingen. c) Ohne bestimmte Tonhohe Diimpfe die Saiten mit der linken Hand; so erzielst Du einen 'geschlagenen' Sound.
Tremolo Veriindere die Tonhohe mit dem Tremolo-Hebe!. Wenn es moglich ist, wird die angestrebte Tonhohe angezeigt. a) Spiele G; nutze den Takt, urn zum E abzusteigen. b) Spiele die leere G-Saite; nutze den Takt, urn so weit wie moglich abzusteigen.
Hammer on und Pull off Spiele die erste Note; die zweite erklingt durch 'Hammering on', die dritte durch 'Pulling off'. Dabei wird nur die erste Note angeschlagen.
I II
~-.f'-
b)
.-.f'-
rf--B-12-B-12-
Glissando a) Spiele die erste Note; die zweite erklingt durch Hochrutschen des Fingers auf der Saite. Nur die erste Note wird angeschlagen. b) Wie oben, aber die zweite Note wird angeschlagen.
44
0
L
b)
a) 0
..
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v
I
8
II
Slide Chitarra a) Suonare con slide. b) Suonare senza slide.
Toccate leggermente Ia corda sulla barretta indicata e pizzicate col plettro per produrre un suono di campana. Le notine indicano il suono risultante, dove occorra.
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,._ ..
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_a_-
~onici
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artificiali Tastate Ia nota piu bassa, toccate leggermente Ia corda sulla barretta relativa alia nota romboidale e pizzicate con il plettro. Le notine indicano il suono risultante.
)z--
Vibrato Effettuate il vibrato facendo oscillare il dito che preme Ia corda oppure con Ia barra del tremolo. Poiche il vibrato e un fatto di gusto personale, viene indicato solo dove e essenziale.
1-ir---1
~onici
tJ
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-ir--5-&--5-6-
pizzicati Tastate normalmente Ia nota rna pizzicate Ia corda con Ia mano destra per ricavare l'armonico sopracuto. Le notine indicano l'altezza del suono risultante.
Microintervalli Una freccia diretta verso il basso significa che il suono scritto va abbassato di un intervallo inferiore a! semitono; una freccia diretta verso !'alto innalza il suono scritto.
Suono graffiato Fate scorrere il bordo del plettro lungo Ia corda. L'effetto e maggiore sulle corde fasciate.
II tJ
...
El l
+
I
il
l
Accordi ripetuti Per facilitare Ia lettura, possono venire omessi i numeri nell'intavolatura di un accordo ripetuto. L'esempio mostra un accordi di Do maggiore suonato normalmente, smorzato con Ia destra, smorzato con Ia sinistra e pizzicato (muto).
il
I
Accordature Speciali Le accordature diverse da quella normale sono indicate in speciali 'gabbie di accordatura'. Ogni gabbia rappresenta una corda di chitarra; all'estremita sinistra corrisponde Ia corda piu bassa. II simbolo '•' in una gabbia sta ad indicare che l'intonazione della corda corrispondente e quella normale. Una nota nella gabbia indica che l'intonazione di quella corda va modificata portandola all'altezza indicata. Per coloro che leggono l'intavolatura, dei numeri posti nelle gabbie stanno ad indicare di quanti semitoni deve salire o scendere l'intonazione della corda. L'intavolatura e da considerarsi relativa ad uno strumento accordato come indicate nelle gabbie.
Accordate Ia corda del Mi basso (6a) un tono sopra (due semitoni) a Fat Accordate Ia corda del La basso (Sa) due toni sopra (quatro semitoni) a Do-.
lndicazione degli accordi E' stata impiegata Ia seguente nomenclatura convenzionale degli accordi. c~~~~~~~~~~~~~~~~~~~~~~~
' i ii g J t Y~Y ti J it J~ rJ ~~ tl~~
I 1tl 11 i ~
Quando non compare Ia griglia appropriata di un accordo, ad esempio, quando Ia musica consiste nella ripetizione di una stessa figura (riff), Ia base tonale e indicata fra parentesi: [ C]
Dove non e stato possible trascivere il passaggio, compare il segno "' .
Printed in England The Panda Group · Haverhill · Suffolk · 10/97
