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ndtios f uk}, Rhythm Cuitar
r' Jfr mlir
In pparing to rvrit this ook I did som rsarh
on th roots of soul musi nd how th guitar fit in. \/
sr rr-ih th anjo. During th slavry ra this
ws th first ral instrumnt that was strummd'.
i a bojur. Hading up to Nw Orlns, that
Thy aild
wr th anjo fit in with Dixiland, and tht form
lng qot minstrmd. Th guitar was originlly of omp-
usd primariiy as an aousti instrumnt with th
Rhrhm guita was vry muh th glu twn th. ,,, ig ands.
and th drums. Th. ;;;;; "oi",.,
krnd ogoing off and th musial glu is th rhythm ;,;;:' ,..
guitar. Fddi Grn in th Count Basi Band ws
ulous t this thniqu. Th guy had suh 'i.. lo*id fa-
at thing gol'g o', h. soundd lik anoth-
drum. I rmmr Ray Charl s' Gis +
Sul = Jzzrord, *.h h Frddi"t-o,, Grn with QuinyJons
angmnts. Thn on th pp sid, if you listn
to th Plttrs, th rhythm guitar is way in th akgrund.
I.s aimost usd as a quartr not kind of omp
thing.

Sun Rords Ws Vry importnt too. Sotty oor with

lvis was a littl out of th norm. It ws half ld,
half rhythm, ut dfinitly omping. Thos priods
wr vrry important. But
funky hynoti rhythm gui1ar thing that I was hip to. In Jms Brown had th first ral
his arly days h usd Ls Bui, ut his most famous
guitarist was Jimmy ..Srath'' Noln. H also usd lphonso ..untry,,
..Papa Kllum and atfish Phlps. But it
Jimmy Noln Playlng on Got a Br31d Nw Bag'' and ..Pay.i.,, . is th ram
of th rop. A lot
of tims Noln wouid play with ..ountry,, Kllum.
Stims h wouldn,t Yn sound a hord-h would
just do srath for on hord. Thyd
work autifully togth. It was-mo,. p...*,lv. Thr
was Pig Jaos
fom Dyk and th Blazrs, who wr oiiginally rom
lr.itr of
..Funky B"uffalo, nd ,.y o. out to Phonix. H was th
Broadway' long or w knw it from \/ilson Piktt.
Thy wr Prtry osur ut thy
had a lot of 9th hords. Frddi Ston nd Sly
fSton] rlly rought it to ,,.,," .o.k. urtis ayfild was
my favorit R&B allad guitaist.

on good Way to look.at various rhythm guitar styls is to xplor

it y rgin. Thr was Nw orlans with
Lo Nontlli from th trs. H is killr. Chk out ..Lok-K"
y P"y,,, o.'. of thir fist rords. Th
trs ar kind of th Nw Orlans vrsion of Bookr T.
& th G,, pl,y.,g ",i.,ity instrumntal tuns.
hat grat rord to har Lo and a rhythm-stion
rally playing .og..i.,. has a ral it to his
ing. Thy plyd on a lot of th Dr. ..Right play-
John stuffi Pla \/rong Tim,' is th trs. I liv towards
th nd of his ar Fts Domino usd. th trs.
Slm with L Drsy, who usd th trs on ..\oking
in a oal in.'' Th trs wr oming up young and
thos guys Wr old so thy larnd rom th st.
h Philly sound ws Boy li and Norman Harris. Listn
to all th Thom Bll and Gaml & Huff-pro-
dud rords, th Sistis, th Spinnrs, th Dlfonis,
th wav of stuff from th '70s. Th Philly Sigma
sund an hard on David Bowi ..Fam.'' That all Philly
playrs, s isanyold Spinnrs tun' lik ..I,11
B Around.'' Thr a grat guitar
Parts on that song.

\u hv Stv roppr with Bookr T. and th mphis

.ards Boy womk slids in thr. For roppr,
(.W.on't Do),,, y \Wilson Pik. ..So.,i
Youv got
ift tuns in thir idgs. Thy would go .o,.' A to D
Wilson Pikt, Rufus Thomas ..\lkin' th Dog,'' o otis
In Dtroit you had t Funk Brothrs from ]\4otown. Thy
plar.ing th akats' o]lr..guy Was plng all th fills,
plr, th sam hord in difrnt parts-oYrtons
is two killr guitar parts. Listn to ..My hri Amou,, ..It a
7 Sham,,, and. ..I,m Gonna k You Lo',.-
.\I.', It,s all thr. Anothr thing I think of is that
sound. mphis is roppr all th way, and aftr-
li,t.., to on of my favorits: ..Ninty-Nin and a al
Man'' and ..Knok on \ood.,, That and took a lot of
hard
to , and thn to A-flat on th ridg. hk
^^" "-.*.. vrrLUA out
U a,r-
Rdding.
usd thr guys working as a trm. On gu1, rr.s
ndn guy Was on th hords. Somtims thy .oul
and harmoni Pattrns. ..I \ant You Bak,, y Th
Jkson
..Th
on tonr on \ay You Do th Things You Do... I l.l
 ,rnd that sound was all don on Gisons. It was don with ig
fat L.5,s' a Supr 400, andan 5-175 with
:h tl pikup and. flatwound strings. It so Fndr sounding.
Frddi Ston and Johnny ..Guitar,, \aon
;ould lso mak a Gison sound lik Fndr. I dug wht thos guys did
with tons and thir parts.
.Vr.st
On th oast you,v got Frddi Ston with ..Thank You (Falttinm B
Mi lf Agin)', and- ..You an
.\{k It If You y.'' I put th ast Bay sound, Sly & th Family
Ston, and wr of Por tgthr. nd in
L.A. you hd harls \/right nd th \atts 103rd Strt Rhhm Band,
with pr-arth, \ind & Fir Al
Kay and ..prss Yourslf.'' I also dig Tony Maidn from Rufus and Pauljakson,
Jr., who playd on
oundss sssion rordings in th 'B0s.

hr usl Shoals' laama, with

JimmyJohnson. You'v got this rgion in th suth and soul musi was
right thr. ..lan Up \omn'' with Littl Bavr in Florida. ..Likin,
..I Jams Brown in Gorgia with Stik,',
and Got th Fling.'' ..Papa Got a Brand Nw Bag'' is th on vryody
gos to.

Th ast oast had all thos grat Atlanti rords on whih ornll Dupr
playd rilliant rhythm guitar.
Th Artha Franklin and Donny Hathaway rords ar still som of
o,i..,.
-y
urtis Ma1fild was in hiago with th Imprssions. Thy had ..It
Alright',, ..GyP,y !oman',, and ..I,m So
Proud.'' urtis took prtty hords and mad thm al soulful.

-lsff *&* W&ffi Wfu %&&-: & &*-g$*qr

r. John Stix
How do you tak a hord prgrssion that roks with arr hords and mak
it into funk rhhm gui.
tar?

h rok attak has mor o its tth in it. Funk rhhm nd.s to mor in
th fari of vrything ls.
hr got to mo.air in it. Playing with a d'rummr lik Twr of
Powr Dav Garialdi, you larn how
ro do that. dos a\ot of ghosting-ra7light nots, alld ghost nts'
Roo Prstia' bwr assist, dos
thm too. Thy ar not nots. Thy ar prussiv
ryp things. Thr ar tims whn i nd to lav air
(..\/hat Is Hip,' 0:23-:40), Thr ar
also tims I'.d to ,.,,..h through it. Somtims you nd to lay
out,
mar, play a littl lightr nd lt othr its kind of ul up. That""
igp,,. of th sound of our and.
Funk musi is dfinitly stion orintd. If you listn to all thos rhythm ,."..io.',
I mntiond, you an har
u-hat vryon is doing' and thr is a purpos to vrything thy
do. You put it togthr and th strngth
gos right through it.-I think th guitar is th driving for tat ."k.,
yo,, you,.ad. But you,v got to
plv in th fari of th musi.

\\s with rok musi you Want to play aggrssivly. I playd with
th Starship for fiv yars' so I v don
h too' I had rwo arshall staks nd did all th ,olo,. it was a
wid.r sound. ./ith , funk rhythm stion
i.s m lik ing in th studio-you want th ass hr, th
guitar hr, and- th organ oyr thr. Th s-
.in is just on thing and you an s th thrads of th arii. Th guitr is
mor tukd. You har Yry-
:h:ng 1sl r.ou 1 r.,thing ls.
 i
.: ils I us frl' nors iil mr.hods. so mar. ml, ass
nots won,t ring out. Thr ar a lot f wo-
]]Oi o h-no trnqins. h is a iit1 ,pot fo.
.h... It uts a littl .tt...-M,y th kyoard is play-
.:g n highr gistr so I'll do somthing littl low aus
ill .
thr is sonially -o,. of , sot for m

i t-ts lot otritons.

Th 3rd and7tof a dominaffi7thord is n ampl of
a triton. II wr playing
n ]
hod, or xamp.l, I would play G.shrp and D. You an
mov thai triton shp up and down th
nk' It's oo1 aus thr is no root and no jth. A, you mov
down th nk rt y fit, if you think o
rh missing-ut implid-roots as going through a yl
o 5ths, th funtions of th nots of th triron
i1ip.flo as you mov down:3_7,tn7-3,t"i3-7, so on. It alld a titon us th intrvi is
h distan of thr whol stps. I us that quit a it, ^nd
or may add a 9th or th fourth hit rthr than just
lrr'avs pound on th 9th. (S . 1.)

Iiton u'rth 9th

--/666t.vA

\u i your spots. That vry important in funk guitar. if you

giv yourslf too muh, you,r nt sitting
right ithr sonially or volum-wis. Sonially it ...y i.,'po,.",,.
.o i.,, yo.',,.lf in th and. \w alr us
h r,vord fbri throughout this whol ook and tha* *t it
is, playing with hug ars (..F-Funk,,0:12.
n.,l\
v.1/.

Nt many popl start off y wanting to play two.not hords in th

fari of the sound.

Ir ook yas oing in ands. Iv n in horn ands sin

I was 14, layingTOl, and Sly,s musi. It stuff
r.u larn rom oldr guys who hv n thr. ay
you'r stiking o,-r. ti"..t. thr. It,s
tt-lition. \/hn you,r young' you,r so agr to gt out Pross olim.
thr and pt. on" thing I,v always don with any
p omusi Iv hard is I'v gon a oupl of .h,pt.,, ak fro.h"
guy, I,m stdying to find out whr
rhr. larnd thir stuf from. It givs m a larr,,i,io.,
of what.h"y
-.. thinking
aout. Oviously wht
rhr.lr. thinking aout is kind of what Iin thinking aout ..".,,.
I larnd from thm. JffBk is my
r oit, \'n tholl8h h is not onsidrd unk. H i,y God. \/ho
ould h hav listnd to? It was lif
G.rllup-th guv from Gn Vinnt. That was his guy. So iU go ak and start uying
Gn Vinnt rords
;ld go. \\.olr.lan, this guy is offth hookl
so do l-u listn t on stag duig a bw pfoman?

i:l lisnrng ro l.'odr,. Roo and Dav togthr aI on oth gat rhythm stions. I think it's aus
Ro.s s.l is so unorthodox. Th way h land to play, his whol onpt' th whol way h oms to
musi, is r.ry diffrnt. ouldnt tll you who playd on what. gos y sounds. gav m this grat
ampl. \/hn h and Dav first startd playing togthrr' Dav would on his hi.hat and Roo would
play ral short' Dav would go to his ll and Roo would play longr nots. Dav would say, ..I notid
whn I wnt to my ll you playd iggr notrs?,, Roo gos, ..\ll, it a iggr sound. Th ymal is a
widr sound','Tht has nothing to do with anything you writ down or larn or listn to, it,s just pur instin-
tiv musiianship. Roo dos that morr thn anyon ls in th and. I'm right nxt to him. I play to Dav
tim, ut as far as th l of th and, it Roo. His outlook is ral unusual...th short nots...it a littl
on top. TOP musi is a littl mor on top of th at and th Mtrs my hind. \'r mr on th tip
o our tos all th tim. I'm sonially a glu whr thr nds to som sort of hording happning, still
with 16th nots in mind. That how I ount-16th nots. \hn th horns om in and do thir hits, I'm
thr alrady aus I,m thinking lik that. A lot of guys go ..1 and2 and 3 and 4.,,Tre ar 16th nots in
twn thos ighth nots that you arr kind ogussing iyou,r rlly not fling it that wy. or Yn quar.
tf nots. Thr ar thr mor nots in thr that ar going to aountd o and you'r not always going
to right thr unlss you ar all ounting th sam. \W all hav to on th sam pag as to Whr it "tt'
and with Towr it 16th nots on top of th at.

Is your right hand doing th 16ths anYwa and you hit rhn you want to hit?

Somtims thr er songs whr srathing [strumming mutd strings] kind of oYrs up th ghosting. A
good xampl or that is wr,s first guitar playr \illi Fulton. H was mor of a srathr. Bru ont
[llowd \illi in ToP] playd mor in th hols. H didn't srath as muh, aus h had a kyoard
playr to play with. hstr Thompson joind th and whn Bru joind th and. \illi Was a thr-
pi. H ndd to play a littl mor oPn. Thr was a littl mor stuff for him to fill.

What irn yorr tll guitarists aout getting thir rhhm togth? Rhythm is hard to gt; you hav to
fl it.

It's mor f a slf.taught ryp of thing. It dfinitly a fl. Gt mtronom and put it on 16th nots or
ighth nots or whatvr th song is you'r working on. If it's ..Ninty-Nin and a ali,, that's mor of an
ighth-not thing. If you an mstr th 16th-not rhythm, whih is a lot of th Jams Brown stuff, th othr
stuff is a littl asir to undrstand. It asir to Put in th pokt. Thr lss stufi,

..walk
Is ther a for yorr alr run,' aspt to plng funk guitar? W.ith singl nots you an do sales.

I lik to do this going ak almost to lvis and that quartr not s. Thn th Batls Wr a littl mor
livly' and thn thr's Sly Ston with th 16th nots wah part in ..Thank Yu.'' It asially th sam lik flt
thr diffrnt Ways. It vry important that whatvr th tun is, find out whr Yryon ls is fling it.
If th drummr is fling 16th nots and I'm fling ighth nots, thr ar going to flams going on. (S
xs. 2, 3, and 4.)
 ->
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J'ft'tl
::.: ]: : 1a huk Bry/Batls

I t., z'., Itr

:': .:: 1 Siy Stone

| 1.,2.,3. ll 4
 Hs funk hhm guitar volvd sin the'60s and'70s?

j :hink it.s d.volvd. It's drasd a littl it. Thr is so muh mor mphasis on othr things in R&B
:-lusi, It.s mor aout a grat trak nd grrat loop. Thy will hv a guy om in and pa a oupl o ars
:rd pl it in thr.

What aout th importan of th vah pdal?

Popl ar so into sounds and sampls ths days' thy think of it mor as a good sampl sound. Frddi Ston
is th wah-wah king. Thr ar guys who m along latr who got mor rdit or it and may vn usd
i in thir nam' ut to m Frddi Ston was doing that stuff in th mid-'60s. Listn to ..Thank You
(Falttinm B i lf Agin).'' Thr is on guitar that starts on th last 16th not of at 1 whih h
did
a lot. It was kind of his thing. Th wah on that song (..Fr Fallin Funk,, 0:2-0:42) was mor on th down.
t.

ll m aut th us of otavs.

Th mastr of otavs on guitar would \/s ontgomry. For funk, I think on again it was Sly with
Frddi Ston. Tht otav thing is aer good glu. I lik to us otavs whn hords ar hanging, and I'll
stay on th sam not. It kind of lik a string prt whr you lt th hords do th movmnt. on ..rd'it''
I,m doing an F otav against a Dm' Fl, thr hords (0:44-0:5il. Playing with Towr I an
^lB-thos
voistuff thatfitsttrwiththhorns.Anotavisasimplapproahthatworksvrywll. (S.5.)

:.: 5: otav Rhythm

Th Philly thing has a lot o otavs in it, as on ..I'll B Around.,' (S x. 6.)

,/
liIft1
: P:jj]r otav Pattm

N.C.
nd o a jazz-ftnk rossoYr. Thr is a lot of jazz influn in funk, mainly aus o th of-ats and off
hr-hms. I'v rad it has a lot to do with th Latins hading up to Spinish arlm and hitting th otron
lu and taking th straight swing and adding th lav rhythm. I think a lot of funk am out f that.

I-t plor th plng on th ight songs. ll us aout..Hip.-Jam.''

Ir.s sortoa Frddi Ston thing. It starts as a rwo-not wah pdal thing. ffts am into p|ay a lot with
funk guir in th '70s with Parliamnt. I'm using two difrnt fts on thr. I hv a flangr nd a wah
on thr fr an unusual sound. It mor of a lw two-not thing I'm doing in th first part. Sin w'r in ,
I an hvays lt th string ring (0:03-0:35).I an go all th Way up th nk just using th 6th and 5th
strings. (S x. 7.)

rr-o-Sting (5th & 6th) Wah Pattm

wl wah-wah
fo

+c: pda1 open (toe up); + = pdal 1osd (to dom)

hr is on othr thing I do hr: a pull-off I larnd from listning to Sly. I slid up rom th 5th frt to
th 6th, thn I go th 4th and pull off to th 3rd. It's unusual; I'v nvr hard anyonr do it ut Sly and th
Family Ston. You gt th 16th-not fl to it.

Rmmr to hit at 1 hard. Thr is air in this part. I us my thum on this on too. So w ar using th
toni not on on string, nd always having it going. \/ith th othr string I om up with littl mlod-
i ountr mlody that,s low, ut it's still a rhythm Part. You an mak th hord minor or majo or Yn
sus4. (S x. 8.)
 , i '\ o-String (5th & 6th) Wah Pattem Sus4

>>
fl wh-wah
*o+o t o * o f o si

*9 : pdal opn (to u); + : dal losd (t down)

Can you play diffrent Pafts in th stft of this song?

Asolutly. As long as you gt th low ringing' you an ply round with th 6th and 7th-as lng as ytlu
hav th 16th nots and th downat on ..1.'' You rally lay into it rthr than wait or it. (S x. 9.)

:r, 9: wo-String (5th & 6th) Pattm Using th 6th & 7th

,|

.\t th ginning, th guitar is playing on at 1, and at0:37 Rogr [Smith, kyoard playr forToP] and I
s'p. I lt Rogr play on at 1, and I lav a ig spa thr, whih is th opposit of th opning. H is
hitting this kind of lush NwYrk rooftop jazztp of hord, and h nds to thr. Thr is non of th
16h not srathing us th hord on at 1 is lush. I nd to giv him spa to play it. othrwis, it
rr.ould tak away from this ompltly ool thing h is doing. If you noti, whn w sWaP
Parts I wait anoth-
ight or 16 ars and thn I start adding littl hord hits, asially dominnt7ttp of hords. It's a two.
ar phas.

alk to m aorrt upstroks Yrsus downstroks?

I us upstoks whn I'm synopating with th snar or th rst of th and. Upstroks sm shortr. You har
h high shot nts first. A lot of tims I play th 9th hords with just th thr strings or that xat rason.
l :hink hr'a vry impotant for synopation. (S x. 10.)
 ..Dont nok It''

You'll nti in th ginning I'm not playing. Thr is anothr rul that smtims th st thing to p|ay i
funk guitar is nothing at all. This is mor of an organ solo. \W-hat I,m trying to do is lt him ditat how h
fling at t tim. It hangs nightly. I lt th thr of thm gt into a thing. I want to mak what I'm doing
hind him so omfortal tht h an just go ofand it still fls lik h's kind of omping. I do ight ars
oD9, so I hav a Partial lin and on that I dd a 5th. That why I talk aout playing two nots' may thr
nots. Off that I dont vn hav to mov. I'm adding nots so it maks it sound lik I,m moving (0:33-:45).
I'v got th 16th not thing happning in th right hand' on again it th ars; I lt th organ ditat whr
h is ling th thing. It is his solo.

Th lsson hr is th addition of th nots?

Lt play a triton. You hav our 3l7 hr on D7. For G7 otl go down on frt nd you av7l3'
movmnt is sutl, ral los' ral tight. (S x. 1 1.)

r ] 1, iton. D7 47

r'v 16 ars I kind of hang gars. I was down hr on th 4th rt and I movd up to D minor at th 1Oth
f. hat's going to mak m try difrnt stuff. I hv a G9 hr, whih I ouldn't do down th nk. Sin
I srr'ih to minor I go into this 4ths thing tht I lik. (S x. 12.)
x. 12: 4ths Pattem on Am7

You hr that a lot. hk out Bru Cont, wr's sond guitar playr. It lik Hri Hanok with his
lt hand. I play 4ths in this song. Th lsson is to try diffrnt positions. Iyou'r hanging gars and going
u' Somtims you an mak gar hangs with sund, and may with a highr hord. If vryody is play-
ing a littl hard a highr hord might ut through a littl ttr.

..Down to th Nightlu''

Th Vrs on this is kind of my homag t TOP,s first two guitar playrs. \illi Fulton rordd this song
originally. H didn,t play with a kyoard plyr so his thing Was mot a fili,| B7 hord. .ff/hn thy did th
Lia nd in Liuig Ir rcord thy had hstr Thompson on kyoards. Bru Part Was totally diffrnt.
I kind of do oth, 'aus I think thy ar oth ol (:|5-:32)' I gt th full hords in thr and it's so
Croppr. Th sliding part is vry oo1 to. Th lsson would swithing rom a ig hord to m a two-
not thing. I'm taking harg in th first part. I'm kind f in th forfront. Thn in th middl I hav a littl
..piking
tukd part (0:24-0:32). It,s a your spots'' kind of thing. I think I us my thum too.

..Crdit''

..rdit'' ..1.''
is kind of whakd aus th Vrs is rally hind th at (0:04-0:16). You wait or th
.n W go to th Vrs, Wl'r on top oth at on 16ths (0:30-0:37). It almost a2 feI.

Funk guitar is its own thing as ar as th hords. If you play an F mjo I'll ply an F minor vry on in
whil; it rlly dosn't mattr. (S x. 13.)

. 13: Playing F7 or Fm7

'11
 ..That's
But ivou wr doing a jazz art thy would say' got to a7t or that's got to a minor.'' That's
ot th point; th point is th right hand and th glu. That's what's rally importnt. Th lsson is two di
nt kinds o ls. In th horus I'm playing kind of hind' and I,m ak on top for th Vrss.

ll me aout muting.

h's th srath, whih is a form of muting' T do this, a lot f guys will mut th strings with thir lft
hand and thn strum with th right, produing a prussiv sound. I us two diffrnt kinds of muting. I us
mr, right hand palm to mak things short. I strum and palm-mut at th sam tim. Th othr Way is to us
th lt hand and arly tak th fingrs of. For this I d us that mor on an upstrok. Listn to Jams Brown's
..ountry''
guvs, Jimmy Noln and Kllum, or Frddi Ston and Stv Croppr. roppr Was thr mastr of
going rom A to D. H is doing mor piking off th strings. It maks it short and mor prussiv. Funk
guitar is vry muh prussion orintd.

..F
Falling Funlc,

Dm6 is th asis othis Towr rhythm stion groov w am up with. It's vryJams Brown rintd. I am
lokd into a part. I,m trying to do wo Jams Brown guitar playrs at on' vn though I ovrdud a wah
..Big
prt' It's got th minor 6 whih is th Payak'' hord y Jams Brown. I'm doing it hr s a Dm6. It
dos sound lik a 13 if you hav good ars. It a rwo-r phras that is my own thing (0:00.:33).Rmmr
how I said th minor and th major don't rally mattr whn you'r playing funk? Th givs you mor
wapons. I'm playing a singl not7-6_7, and this hord will atually D13#9. It,s ral short and lavs
a littl hol or that lin. Th lsson is th omination otrying to do two Jams Brown guitar Parts at on.
hy usd to all it havn and hll. on guy would strumming and on guy would piking. I'm try-
ing to do two Parts at on and still l th 16ths. Thr ar littl spots or m, and on tim I d a singl
lin (0:04-0:07) and th nxt I fill with a short hord (0:08-0:09). You hav th hords, you hav a littl lin,
l'ou lav a littl air.

I'm fling 16ths ut I,m not plying thm all. A lot of guys hav to play all th 16ths to fl th 16ths. It's
funkir if you don't. Th whol thing that maks stuff unky is if you land on th upat. If vryody did
it' it would a ig goulash owhatvr. I oftn play on th sond 16th of th at. Srathing through th
whol thing and thn laving out a w hits is a good Way to Prati. You,ll fl th difrn. You,ll har it
oviously, ut th 1 is also difrnt. You fill in your littl spots with th drums aus you ar thinking
16th nots.

"F- Funk'

his song ontains many o th sm thniqus w'v talkd aout in othr songs. This organ solo I
approah dirntly. I start it out for Rogr to follow m. I'm doing what w did arlir. I'm starting on two
nots, may adding a third or fourth not hr and thr. I'll om down low (1:01.1:10), plays 4ts (I:55-
2:00), tritons' two-, thrrr-, and four-not hords (0:12-0:20), kind miing thm up in a wo-r Pttrn.
Th ida is to om up with a Part that hypnoti ut not distrating. I you lay into a Part that is hypnoti
and rally funky' thn popl don,t listn to you-thy fl you. I'm in F so thr is no opn . I go ak to
mv huk Brry' ut play it lik Sly.

You an mak uP your own Pafts for this song?

It.s alittl mor oPn. It's mor of a jam.I was mor xprimntal, I ould waf mor hats. \,r mor lkd
;.
tll .d ^...
.^
Lv ,-"..
dr L rul Lrrl 'vhol
v tun and may on th fourth ar vryody gos off. Until thn it's prtry muh
th sam thing. At th nd of th ourth or ighth ar, if you Want to do a rhythm fill at th nd oth phras,
i.s ni t do tht (2:32-2:37). That's usually whn th drums p|a a fill. I am thinking aout what Dv

ra
mighr do hr. I hav th 16th nots in mind. Usually th nd of th phras is a good pla to Put somthing
ls in to ush into th nt stion. \ know Dav is going to go to th ll, so W ar all going to hang
gs.

..Ooiy So h oil in the Ground''

I think of this song aS a ig and funk arrangmnt and of myslf as an nsml playr in a ig and. Th
horns ar prominnt. I play this tun a lot lik Bru ont rordd it. I add a fw things of my own. It
nsml funk guitar whr you try to stay invisil. This is a fari part. Thr ar Prts whr I am syno-
ting with th snar (0:00-0:30). I all this ntr fild guitar. ll th things w'v n talking aout' I'm
doing thm all. I am playing within th fari of th and vn mor so. I'm playing ig hords aus th
organ is filling a lot. I sonialiy nd to tak up mor room. A lsson in this on would a widr approah
..1,,'
to guita ig hords, a hvy downat On synopation. Thr's a lot of ig and short that w'v talkd
..only''
aout. This has oth. On th word I play ig. I am kind of mirroring rvrything that gos on (0:48-
1:05). Having hug rs on this tun is vry importnt. Thr is synpation going on with th drums. Biggr
hords ar going on aus thr ar a lot of kyoard fills. I'm doing a lot of hits with th horns whr I
altr hrds to hav th right onr to fit with th hord. Somtims I p|ay a minor 1 1 against thir minor 7
nd it sounds rally ool. At th nd of th horus whn thy sing..Thr is only so muh oil''' I mphasiz
t,,2,, rathr thn th..1.'' Th lsson for this is nsml ig and funk guitar.

Did Bru Cont writ his own guitar Part fof this song?

Ys.T way I writ my parts, thy om in with a skth and lt us do what Wr want. millio [astillo] is
vry good with guitar prts. I'm luky. Ninry prnt of what I om up with w kp. But h'll say, ..\/hy
don't you put this in hr?,' H is rally diald into guitar. It oi to hav a produr who is lik that.

"'What Is Hip"

I rmmr I was 13 whn I first hard this. This tun improvd ToP vrtial lap quit a it. This is a pr-
ft xampl of not hitting all th 16th ghost nots. This is th ghost not national anthm for unk. It's a
gat xampl of playing th hits whr thy ar supposd to . Thr is no in wn stuff. I stay out of
th way of th ghost 16th nots on th ass and drums (0:22-:42). Th lsson hr is playing your PatS
rr.hr thy land, at lrast on th Vrss. I also addd my own invntion thr. It's a two.string lik. I'm taking
th root and 3rd and going up from D to . I mirror th ass. k kind of my own part. It not too loud
:42-0:50)'

Giv m a glossary of ommon funk hord voiings, a Funk Chod Ditionary.

l'ryody knows this is a simpl D hord:

IJ
But it lso a Gmaj9:

Gmaj9 c8(#11)
xx x

Or Bm7: Or 11: r 619#I1,:

It a unh of things. A lot otims I will look t a hord lik that and say that ths thr nots work against
four diffrnt hords. I mntiond Gmaj9. A lot f tims if th nd plays Gmaj7, I'll just pIa a D triad up
th nk-or m two nots-and it sounds ool:

Gmaj9
10 fr.

2.t
*hord funtions

I kind of put that thniqu into vrhing. I'll rak a hord down vn though it might not in th ky
w,r in. Lt,s look at a rgular 9th hord-9 at th 6th rt' th on Yryon knows:

E9
Th othr 9th viins is this on:
795x '1
1 fr.

Th diffrn is that hr you hav th 3rd of th hord on th ttom. or you an lav it out:

9 G#m75
795x Now look at this G#m75 hord- xx
11 fr. 10 fr.
whih is th sam as an 9 hord
with no root:

5Z+

14
[f I lev out th low G* and play th top thr nots oYr an opn ass, it sounds grat:

9
oxx957

It aout hois?

Right. If I'm playing against an 9 hord' I ould p\a G#m75 at th 1 1th frt:

9 or I an lav
GIm75 out th low
Or I an play Gf of that
it down at th hord and play
3rd frt: a opn low
instad:

W.v talkd aout taking a 9th hrd and using th triton-th 3rd and7t of th hord:

9 B9
xX7 Somtims I,ll add th 9th xx379
of th hord to that, on th
2nd string:

nd somtims I'l1add th 5th of th hord to that, on th lst strins:

9 13
xx795 x x 3 7 913
Or instad of th 5th, I might
mak it th 13th, two rts highr
on th lst string:
It ms lar. If you rak down hords, somtimrs it,iust sounds so right. You an do that with all
hods. Th maior 7th hord works wll. Look t Gmai7:

g"**^*"**--****-***--"t
$i
Gma17 }** m/
\ F|

XX
On th top our strings, you'v
got Bm7 thr:

43111

lso, i I,m playing off a Gmaj7 hord, [ an play just two nots:

Gm aj7
357
Or thr notrs: or our nots:

r ar som two- and thr.note maj7 and maj9 voiings:

Gmaj9
X 5 7 9

21

T maj7 and maj9 ar prtty hords that you har in th otown sound. k a Gm7 and mak a Pattrn out
o th voiings aov. It vry simpl. Lss is morr. I kind o am upon this on my own, ut it's vry simpl.
You doul and tripl your hord possiilitis this way and yu giv yoursl mor options. Bing a good unk
guira playr is to vry instintiv.
n ru slrm P what it's lik plar'ing in a good hm stion?

lr ing rhlhm mas ing al to plav with othr popl and ing al to ang with thr popl. It's
-rliing rlationships rvith popl. It's out not oming of that I'm mor important than you. \ ar all on
rirr-hm stion. Ys' I am a guitar playr, Dav is a drumm Roo is a ass playr, ut w ar a stion. Th
aso rvhy w sound good is aus w work wll togthr-Wr listn to ah othr. That oms from play-
ig in ands and slugging it out in th g^rage' It finding that ommon thrad that oms from playing in a
nd. I don,t think you an do that y rading a ook. It lik ing a golfr. You an rad vry golf ook
in th world, ut you,r going to sli into th woods unlss you gt out and play and hit th alls. It at.
ting prati or shooting fr throws. It vry muh lik sports. A asktall tam with fiv guys who all want
to shoot th all isnt going to win. Somody is pissd off aus thy didn't gt nough shots...didn'r gr
nough solos. Somody is ovrstpping thir parts. That's th stuff that you slug out in th gara1e.If you
find guys who ar thinking th sam, you,v got a winnr.

17
i I
r]\
1 .,.1
RDl
.J\../
i*^1" c..", Dm Dadd9lBD 9
Fu]l Band Pl-Along
il4. Words and Musi b,
I ] ] m.-
-N 5ti
T..]
..-a Emilio Castillo, Stephen Kup".
ffi
-,] I..]...]
-
ttli
21 T 2|4 2|
and John Whitn '

Intro .il
(=J.l.)
odrt Swing.] = 14zl
Half-tim fl
8t1:'"'
Jd fim. UtI. J Lt

N.C. Cm7 N.C. F] B"I

(Horns)

Go and gt lt with our god

Gtr' l (lan)
Rhy. Fig. I t/vt/!tt AA/!

llttttllt

*w/ Lad vo. ad lib on lpts

B7 l

Go and gt rt you good

nd Rhy. Fig. 1 nd Fill ]

t,litttlti/!

Vrse
F9

rd - il l.You an
2.,. S dditirlnl l,'rics
Rhy. Fig. 2

copyrightO 1986 Arikat lusi' Stphen Kupka Songs (ASAP) and Lw-Bob Songs (B|)
A Riohts ir Arikat usic and Stephen Kupka Songs Adm nlstrred by Bb--Letv Sogs
.:.^at cna 663i,l;lgl"l Su.ed A R c^ts sn,,ed
 827

palnt lt u rd. wor - r ,bout a thing' you don't nrd- no brad. Go and
-
nd Rhy. Fig.2

2nd & 3rd tims, Gtr. l: W/ Fi]l i

B1 B1 b9 9

your good rd - it You an

1+

GtI. ]: w/ Rh' Fig. 2

F9 Bb'r

din in styl' liv lik king. _ Kp the spir - it flow - ing' ain't no big thing G and

Gtr. J : u'/ Rh' Fig. 1

-
F7 B7
?+

your good red - it.

Bridg
Dm Fl
',1-:: i Q
f
, )+ ;_-

JI - Yu don'l
-::: :- :O str
-
GtI. 2 tt
ir.;J9 82 B9
-J- J-
))
>>
II,TI' ----.- (ont, ln ntatlon)

t mk Ih in-
-
l
hous

To Cod
s Bbl
J- .\
---.---.---- '

m on and harge on.

G2add9lD

D.S, l oc;
(no rpl
l
GtI. tat
B1 7 DD'7 GD N.C.
^7
 Fif,e

-J-----
--i---=-
with your gooo With our good it. Swing!

rylvwtttl\n
-

2nd tim' Gtr, 1: w/ Fill 2

B.7

G and

a1
al
 llz.
bl

llltlttttwtlt

(^t-
iP5

dditiol Lris

Yu an pa ou bills, op a tailor-mad suit.

Sign on th line, ou don't nd no loot.
Go and gt it with your good redit.
You an rnt a ar and till th tank with gas'
Cruis to th 1imit without no ash.
Go and gt lt with your good fedit. (To Bridg)

Impress you frinds, do it to the max.

And what d you know? You don't ned no srth.
Go and gt it with ur good rdit.
Bum your ribs likr ya done a lot of talking.
That nd a sond lok, and tak a hny sukl, mthr ain t no fool.
Go and gt it with your good credit. (To Bridg)

22
 ,df\
DoWN o HE NIGHLUB
' \ f:' ::''1r
/\
,1
.J
fi ,#z" Words and MUsi bv
:: Bnd Pl-Alog
Stephen Kupka, EmiIio CastiII
Intro and David Garibaldi
Fast; = 208
(Drums)
Gtr. I (slight dist.)

[trig -_-. ___l

r!rvrryvr

t/1

';;;

Sat-ur-da ni ohr hang - ing out, look - ing for pla par -
- S tLdditiorutl l,u-ris

/ 6lgn1 lqna

''. gr: .9r5 Siechen KL,p< Sogs' r kat l\,4usi and GaribaIdl usi (SCP)
. " j... - . stered b'', Bb--Le''.i Sonos
..'...'.,.^? j::,.:.' S:-. A a .:s s".. 2
 to m ride and I hit th oad

pla Dwn

th Wom e rih

;--
To o!
RD'/
$,.

yah
 Brids
)9

o..h. th po - 1 b bump - ing (at Bump

D9 9

it - y). Th joint

th ml - mas b

25
You know the and

Coda
D.S. l od Gtr.1 tat
Gmaj7

To th
 Gmaj7

{l
|

ll
-{l
llt

Additionl Lris

2. Sitting by the dan flr, chking it out,

Wathing th man with the fast ft.
H's gt th hippst thrads and th bad buga1oo,
And a big old bag of tricks.

2nd horus:
Down to th nlghtlu.
You an get what ou want if you know whr to find it
To th nightlub,
We b sllk, slik, slik. (To Bridg)

3. The night's almost gon and w'r still going stong;

Thr part's bn so hearty.
I hop it dosn't show whil I'm driving dwn the road
That I had to muh to drink.

rd horus:
DoWn to th nightlu.
wi11 flw.
If you goL th dough th liquor
To th night1ub.
id n drunk. dunk. drunk (T od)

28
 HRE'S oNLY so MUH
oll lN HE GRoUND
Words and Musi bV
Stephen Kupka and milio CastiI16

Gm 9 C9 bg,p,2 D.l#9 Am Gm11 os Gm(ad<i9)

ffiffi
ir
.:._-] ffi
.ilr ....-
iffi*ffij
lH-fH ffl
1l] T --ffi #.o,.
---Iffi
'.n'
ffi
,#r
ffi
rTr
ffil
.l
l
H-l
l. ltl .- t]] FF
]]1n -.r tr
ll] 21 213 214 214 l l i 1i2l 1211 1 14

Intro
Mdium Funk.] = l20
Gm
Rhy. Fig. 1

t i-
X'i.. xil-==l'tl tl
Gtr. I
(ln) /
(Drums)
"!f

Gm B9
_:_ Gm
_:_
I III|'/it'/||'/
-- {'l'|'/|'| xlI lIi)|il) l
-

9 Bgtp2 D'rf's Gm Am
nd Rh. Fig. 1

) -
I tlllltt tt I.

Vers l. Now thr's on -

Gtl, |: / Rhy, Fig, l Il\t 7 mas.) -
Gm

muh oil ground;

- son - r or lat
-
9

thr won't b- muh a round.

-
-

Tl1 this to your kids _ while you're driv tng 'round

- - dwn town, that ther'S on -
-
9 DTpe Gm Gmll

""'x /
.'t. 1
/
T
|)
(ont. in ottion)

muh oil ln th ground. W an.t

- -- -
opyright @.1974 Stephen Kuk Songs and rikat /usic (sAP)
Al| Rights Administered by Bob..Lelv Sonqs
InternatIonal Copy,ght Seurd R ghts Re"leo 29
.$f hrus
/o lno I1m. UTr' l It
C9

wr .lust _ got suf

-
 \.rse
Gtr. l: w/ Rhy. Fig. 1

muh oil th ground;

- soon - r or lal
-

thr _ won't b none a- round._ 1'Al - tr . nate sour - eS f- pow-

- 2.TeIl this to our hil - drn whilyou'r drrv .

D7f.e

I must b fbund, aus there's iv

-_ -
on so muh oil ln th ground.
ing round down twn, that ther'S on ly SO muh oil ln th ground.
- -

GtI. l: w/Rty' Fig. 1 (1st 7 ms,)

Gm Am Gm

Said ther's Iy muh oil in this arth;

- -
- -

lts fat of lif fr what it's worth. _

-
-

Sm - thing r lit - tl girl and boy

- -

9
+

iiraii.J knt trrrm bih. _ that th.s muh oil tn .lftn

-
JI
^1
 hus
Gtr, 1: , Rhr ' Fis, ]
DD9 .

I
J---l-\

Thr's no usr or our

- -
9

no_ uS fr our a - t]. '.

-
- -

that what w us will not

! t. Just as sum
- w'r do
lzTf - wr kp - on lik ing, things
- -
To d *+

b . ond pl' but soon nough _ th wrld ' will wath thr wells - :-t _
ain't got- -
sup
will not be ool. It's a fat w Just suf - fi
- - -
--
Guitar Solo
Gtr. l: w/ Rh5r. Fig. 1

fim Gm Gm
 C9 9 D1e

Gtr. 1: w/Rhy. Fig' 1 (lst 7 mas.)

_t^
LO9

i}--;-: -;->-: /;-\t': lY'-:-.

D.S. l od

C9 9 Dif/s Gm Am

ctt. I
J I
) la
(ont' in notatlon)

We an't gr1
-
 a out
Gtr. 1: w/ Rhy. Fig. 1

Gm Gm

s muh iI.

Ther is on-ly so muh oil.

-
g D1#e Gm Am

Bg Gml1

x--= xxx
l-
/ T
I

t/

7 x xx x

Gm(add9)

Fely
9fi11
A
#a
 /6".\
WHA ls HlP
\
/ \ ';/\
# je
=-]I Bnd Pl-A]ong
Words and MUsi bV
Stephen Kupka, miIio CastiII6
and David Garibaldi

GtI. l (lan)

lnnr,ri1 1o7c Qtann .rpka Songs. Arikat Musi and David Gariba|di |\4usi (ASCAP)
Cfry.9rt enewed
A e 3h.3 A-. ste.ed by Bob-A.Letv Songs
-:...e: ]^e :. - .: S:-'d A F gh1s sr^',ec 5
 1. S yu

---^\ ^

) bd liJ
I
grad. bnd gd,

'..'* !JI, ]^ lI
9

\\ant to Jump out_ your trik _ bag and ase on

].' .i, See dditttl lris

.
 ou ain't just sure what's hip.
- -
-

big buks o.ping a

sme - how ou know thr's muh_ th trip.

(What
- is

Chous
B'7fre

Tll m. tll- m' do ou think- you know?

What is hinr)
-
 you'r rral - l hip, ass - lng rs wuld show you on
-

tflp, may - be hip . r than hl. But what is hip?

- -

r4 / F] .7
/\
A-----r-

bnd

2. S ou

A:-\,-
+r- +.+ /-

nd Rhy. Fig. 1

Bridg
A9
9
,--=.-\

9
t
+

Com on
what it is.

- _\r

A7
,-.------..\-

some-times hi - nss is

Guita Sol
Gtr. l: w/ Rhy. Fig. I

l'r*ryrrvvv
^-^

I
 D.S. l Coikt

3. So yu

oau

Dfr /tt9 ^++-++^

out
fs9
 D9 #s 9 D9 fls g
Rn1. Fig.2 nd Rhy. Fig.2

Gtr, 1: w/ Rh, Fig, 2 (4 1/2 tis)

D9 D#9 9 D9 fls s Ufr t\

l1 m. i]l- m. do ou think
rWht is hip?
-

D9 Df,g 9 D9 9

tt---___]

ou know? If vou rl li
What is hip?

l#s s Dt9 9

pass - 1ng will snow. _ Tell m. tll do \ ou think

ars
- What is hip?

nfls s

you knw? 'Cause if you're ra1 - l

What is hip?
- -
7 7sus4 9 D9 fiq 9

pass - ing ars will show' 'all

What is hi?
-

')
 like to know.
-

Df,9 g

Wht is hi,?
-

Is- it
What is hip?
-

nfis

What is hip?
-.*)<)<)< -
 fls

what Sm

What is hip?)
-
+ ++++

#s hlgo-lfls hig

22 ??

 Bif.s

N.C.

(What is hip?)
-

Additiol Lris

S-o you beam a part of th nw brd, smokin' nly th st wed,

Hngin.out on th so-|ld hippst st.
Sn t II th right pIa,. sn wirh just th ight s.
You should b satisfid but still it ain't quit rtght' (To hrus)

So you wnt and found ou a guru in an ffort t find yu a ncw you,

And mayb vn managd to raise youl onsious lvl.
Now ou'r stafting to find th right road; ther's on thing
u should know.
What,s hip today might om pass. (To horus)
2*
:- . B.rJ Plar -tlong
--.---l

rrl
A
DoN'T KNoK l
Words and MUsi bv
Franis Prestia' Jeff Tame|iei,
David Garibaldi and Rooer Smith
odratFunkJ=l28
Gt 1 tlant D1
Ph 8 tims

ccc.',.gr: 2002 oo. ]t,4us c' Srveet Samantha Songs GarbaIdi usic (SCAP) and toger ay Smith tv1usi (BlV]
a glls.. Cco.
t
l.,1ls; ard s\..eet smnth Songs Adnin sterd bv Bob..Ler^l Songs
^:..a: ^a ,'.: S:-. a C.ts es^''
t-2r-
AJ
 -;i ri i- 4 *r -
I

|
 ** *.
='!ft

Fd out
2 X 2
7*.# * *
 F.FUNK
,' i
' ./ fln|c-z+,/
:, :,': ?..,\ltrn_c
Words and MUsi bv
Franis Prestia, Jeff TameIiei.
David Garibaldi and Roger Smith
}Idetely. = 112

Id ti' GtI. l: w/ Rh. Fill 2

Znd tim' Gt, 1: w/ Rhy. Fill l

d tim, Gtr' l: w/ Rhy. Fill 2

Rny. Fill I
Rhy. ill 2

J
 F9sus4

F9
ze
F7sus4
Bgin fd

tt'=
 ..',, )
FREE FALLIN'FUNK
1

'ie
Plal'Along
Words and MUsi bv
Franis Prestia. Jeff ameIiei.
David Garibaldi and Rooer Smith
. l
] 6th tiln, Gt. l: w/ Rhv. Fill 1
lOth tim. Gff, 1 rv/ Rhy. Fitl 2
Gtr' l (lan)
Dm13

"!f
W/ wh-wah aS filtI

E Dm 1 N.C.

RhY' Fill I I Rhy. Fill 2

Grr. I Gtr.

ocvr.ight o 2002 ocor MUsi' sweet Samantha songs' Gariba|di Usi (AsAP) and Roger Ra srnith N,,1usi (B ,

|l Rights for oor us and sweet sarantha Songs Admrnistered by Bob-A-LeW songs
8 Inte.national cDv']ght Seured Al R ghts ResrrVd
ll 6.
Cadd9/D D9(no3rd)
I
,
,.'--\
; Il\ '. l
; L.,J
HIP.E.JAM
/ \ '-- i:tJ
.-/\--r
Jlitr.}1 flEt{PE|
:. B.lJ P]r -AJong
Words and Musi b
Franis Prestia, Jeff TameIiei,
AI David Garibaldi and Roqer Smith
Mderately . =11
lan) 7

rrgf w/ wh-wah as filtr

Cooyight @ 2002 ocor Usi' sweet Samantha Songs. Gariba|di tMusi (SCAP) and Boger Ry Smith lUsi (Bil,4|l
|l Rights for oor usi nd sweet samantha Songs Administered by Bob..Lew Songs
l1rnat ona Coovright seUred A I Rights Reserved
 9
E

1+ 2

W nolus

P,\1, J

c
P.M. -----l

Fad ttt
 J FF
AELlER
In 1996. aftr turing for fiv yars with '80s rk
lon staShlp (Jtt son Starship). Jeff amlir
fult]lld a liflng dram by jining. th wrld-
rownd soul band Towr of Pwr. Sin thn,
melir has turd th world six timrs with
o. ndutd wrkshops and massiv linis,
and starrd in th Ht Liks instrutional vid
Fuk Guittr. H has rrdd fur a1bms with
orr'r f wr, as wl1 as his wn sl ffrt,
th itially alaimed Strt Got Yo, Tongu.

\\-hn ff th rad, Tamlir is a prminnt

prdur and studi musiian in th San
Fnis Ba ara, livs inAntih. A.
rr ith his r,vit. Dbi, and his hildrn, Jss.
Justin. and Samantha.

Ft]I lle infmatin. plas visit

lr.bmpitr.om (lik on ..|ipdatS.'' thn on
i.' rr
.'Bnd
\Ibrs... thn n ''Jft mlir..).
 rJ S S19,95

ill laa
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