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    How To Play Like... : Ritchie Blackmore

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    Eliton
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    © All Rights Reserved
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    How To Play Like... : Ritchie Blackmore

    Uploaded by

    Eliton
    551 views1 page
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    Original Title

    Ritchie Blackmore

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    © © All Rights Reserved

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    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    551 views1 page

    How To Play Like... : Ritchie Blackmore

    Uploaded by

    Eliton
    black

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 1

    L

    INTERMEDIATE
    E

    S HOW TO PLAY LIKE... RITCHIE BLACKMORE


    S BY VINCENT DEMASI

    O Although best known for the beefed-up blues the G major scaledescending in thirds.
    riffs of FM rock anthems like Smoke on the The funky swagger of Ex. 2 is accom-
    N Water and My Woman from Tokyo, ex-Deep plished by juxtaposing a Baroque-ish, sweep-
    S Purple speed king Ritchie Blackmore has picked Fm7 arpeggio figure in the pickup bar
    always infused his guitar playing with a healthy (and again at the end of bar 1) against the
    dose of classical flair and Bach-approved minor bluesy pentatonic phrasing that completes the
    melodicism. Blackmore, the Strat-wielding example. Listen to Blackmore burn on the
    black knight of 70s heavy metal decadence, extended intro to Purples Lazy to catch the
    was a major influence on neo-classical shred- vibe.
    heads worldwide, including, most notably, Yng- After parting company with Purple in 1975,
    wie Malmsteen. And Blackmores fretboard Blackmore formed Rainbow, a group that
    virtuosity inspired its fair share of arena-sized retained the British guitar heros penchant for
    cigarette-lighter ovations. grand-scale classical drama. The sturm und
    Ex. 1 recalls the climactic build-up to drang of Ex. 3 is drawn from the operatic block-
    Blackmores solo odyssey on Deep Purples buster Stargazer, and boasts a fusillade of
    Highway Star. The first three bars are built rapid fire pull-offs culled from the B Phrygian
    around a series of arpeggios (Em, Am, and dominant scale (B, C, D# E, F#, G, A). Some-
    G6) that snake up the neck while retaining the times called the snake-charmer scale, this is
    open E string as a common tone. The dizzy- actually the fifth mode of E harmonic minor, and
    ing comedown in bar 4 is based on an E nat- is characterized by its exotic Middle Eastern fla-
    ural minor scale (E, F#, G, A, B, C, D), also vor. Roll over Beethoven, for sure! g
    called the E Aeolian modethe sixth mode of

    EX. 1

    B7 9
    Driving rock
     = 152
       
    G6
       
    Em Am
       
     4                            
     4
    

    0 3 7 0 3 7 0 3 7 0 3 7 0 5 8 0 5 8 0 5 8 0 5 8 0 7 10 0 7 10 0 7 10 0 7 10 12 0 0 8 0 0 10 0 0 7 0 0

    A
    B

    3
    Fast rock shuffle   =  
    EX. 2
     = 186 Fm7

    4                    ( )  ( ) ( )
    3

     4 
     
        
    3 3 3
    3 3 hold
    B B-------
    1 1
    T
    1 4 2 1 1 1 4 2 1 2 1
    A
    1 3 1 3 0 1 3 3 (5) 3 (5)
    B
    1 3
    3
    EX. 3
    Slow majestic rock
     = 90 B
     4                          
     4
      HUH?
    Sturm und Drang is a German musical term

    B R  that translates as storm and stress. Its usu-


    ally associated with operas of Wagnerian
    4 0 5 0 7 0 8 0 7 0 5 0 7 0 5 0 4 0 5 0 4 0
    T
    A
    5 4 5 4 proportion, but it can also, of course, be
    B applied to rock riffs of similarly mammoth
    size, scale, and emotional intensity.

    S E P T E M E B R 2 0 0 5 G U I TA R P L AY E R P H O TO : M I C H A E L P U T L A N D

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