Get PDF Frank Zappa - Over-Nite Sensation Songbook (Guitar Recorded Versions)

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Frank and Gail Zappa in Denmark, Photo by Jorgen Angel, used with permission. This section and the following one include a couple of examples of riffs from these albums "I'm the slime", "Dirty love", "Don't eat the yellow snow". For his more accessible songs Zappa often turned to riffs. In the One size fits all section I'm briefly referring to "Camarillo Brillo" as an example of a two-theme pop-song. In the Ludwig study see the references this song also gets mentioned for its verse-chorus structure and its use of common chord progressions.

Obviously Zappa wanted to appeal to a larger audience by starting an album like this. The verse-chorus structure is the most common structure in pop music, that also Zappa might use. The universe of different structures he could apply however, is fascinating. See the One size fits all section for an overview.

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In all of the "Overnite sensation" material got published via the Hal Leonard guitar songbook series. It's done very accurately by Paul Pappas. The following example is the opening from "Camarillo Brillo", based upon this transcription and filled in with some more details by me: Camarillo Brillo, opening midi file. Camarillo Brillo, opening transcription. It's made up of two bars, that get played four times.

Frank Zappa | The Classical Composers Database | Musicalics

The first bars turns up about the same each time, but the second bar gets varied upon. In bar 1 etc. The example continues with the verse bars This progression gets filled in more and more towards the end with the players improvising along this pattern. The shorter verse gets repeated a couple of times, before the second theme turns up. For this chorus the song first modulates to D.

It lasts ten bars in total and doesn't get repeated before the verse returns again. First it gets played much faster than on "Overnite sensation". Halfway it switches to slower. Butthead calms him down: "You dumb ass, there's always been TVs, they only had less channels".

I'm the slime, opening midi file. I'm the slime, opening transcription. This opening starts after a little intro with Zappa improvising on guitar. These two meters last exactly as long, so it's a change of subdivision: four times three becomes four times two. The keys change, but since some notes aren't used, they can't be identified positively. Paul Pappas indicates an E chord, thus going for the Mixolydian harmony.

Frank Zappa

The instrumental opening does end positively with modulating towards D Dorian, the key the verse starts with. The song ends with a guitar solo, maintaining the ambiguity about being in F Dorian or minor. Now both the D natural and D sharp are being used. At a second theme starts, following a parallel movement of three major type of chords C, D and E7. Dirty love, opening midi file.

Dirty love, opening transcription. Half-way this song you can hear a little guitar solo. During both "I'm the slime" and "Dirty love", Zappa is playing over chord progressions. In case of "Dirty love" he continues with the progressions from the two themes of this song. This is the most common manner of playing a solo in pop music, but in case of Zappa pretty rare. See also the Guitar section. On the two albums of this section and the next one, "Fifty-fifty" is the only track where Zappa isn't singing himself. It would have asked too much of his voice. The pitch range is wide and during the song the lead singer, Ricky Lancelotti, is deliberately yelling.

Zappa apparently liked him to do so and wrote the lyrics to go along with it "I know my voice is kapoot". Yelling is something Zappa himself never does on his albums, hardly ever even raising his voice. During the song you have a large instrumental middle block for three sequent solos. All three follow the same modulation pattern, with as its basis: - 8 bars alternating C Mixolydian and Db Mixolydian. In all bars the bass is playing the tonic as pedal note and the accompanying chords are mostly larger chords 7th to 11th with the tonic as root.

Only in the final 16th bar the bass moves over to Eb. The three solo out-takes below are bars plus the beginning of bar 11 from this scheme, that lasts 32 bars in total. Thus these corresponding blocks present the same section as played by the three solo players. The scales are followed by the soloists with a lot of freedom. The first organ solo example below begins with George Duke playing as fast as he can over a C Mixolydian accompaniment, using the chromatic scale. Notes over the Db pedal bars can also get altered. Especially Zappa alters notes consistently during his solo. Over the Db pedal bars he always uses a C natural instead of a Cb and half of the time the Gb also gets altered to G natural. The structure of "Fifty-fifty" goes as: - Instrumentral intro in D Dorian. This phrase gets varied upon four times.

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The transcriptions below begins with the last three variations. The second half begins at the end of bar 6, where the varying upon the previous phrase is left and the music briefly moves over to Eb Dorian. Halfway bar 8 and during bar 9 the chords Em7, Em and C m are used, not particularly staying in a specific key. The last C m gets extended by an additional F by the bass played beneath it. Fifty-fifty, theme A midi file. Fifty-fifty, theme A transcription. See the example at the end, where this theme returns instrumentally as the coda for this song. In the repetitions of this theme below, the harmonies come out better.

Here it's more melody and bass only. The bass pattern returns in the same manner, but the melody gets harmonized differently. This solo and the next two follow the pattern as described above.

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