This is the earliest of the solos transcribed In this folio. It’s from Pink Floyd's 1971 release Medde, Most of the elements of Gilmour's style are already in place. Like many of his solos, this one is a skillful combination of blues licks and arpeggio-style lines that really define the chords over which the solo is played. Notice also the hall-step bends that are a constant fixture of Gilmour's sound (see measures 13, 14, 16, 25, 26, and 28). The use of repeated figures is something ‘that you will See often in Gilmour's solos — evidence of a careful and musical approach to soloing. | especially enjoy the spaces that were left in measures 9, 12, and 19. These are the mark of a mature player. ‘The guitar sound here is clean and undistorted and as moody as the song it introduces. Echoes Waters/Wright/Mason/Gilmour TRO:Copyigh ¢ 1971 and 1278 Harpshire House Publsting Corp New York NY for the USA and Canada, Copyright for the rest of the World by Pink Floyd Music Publishers Ltd, All Fights Reserved Including Public Performance For Profit International Copyrigil Secured. Made in USA. Used by Permission Stowly Pim ctm Fem ars) ty a2) ss af ® GEE B B cs ees — 2 io E at 8 ‘ : EO pa mre be 32 eo — —— ——_+— = —Ben n10 Moderately Fim This solo is taken from Pink Floyd's 1973 release Dark Side of the Moon. The guitar sound here is typical of Gilmour's frequent mix of distortion and echo, The result is a beautiful, creamy texture which is enhanced by the accuracy of the string bends. Again we see a good mixture of blues lines and arpeggio runs. As | noted previously. Pink Floyd songs rarely contain one-chord jams: There is almost always a backing chord progression, and this song is typical of that. Gilmour's sole lines are derived from the chord changes, especially when the Dmaj7 chord occurs (see measure 17}. | especially like the slides in measures 18 and 19. Wators/Wright/Mason/Gilmour ‘TRO-Copyright © 1973 Hampshire House Publishing Corp.. New York, NY for the USA and Canada, Copyright {or the rest of the World by Pink Floyd Music Publishers Ltd, All Rights Reserved Including Public Performance For Protit. International Copyright Secured. Mada in USA, Used by Permission.m * cate vee ee ee eee eee seeeeeeesss Deal? 4 {ERAT C#m Bm7 B Fem2 This is one of the best-known Pink Floyd songs and one of the best- known Gilmour solos, Here, he solos over three choruses against a 8 minor blues progression. Although, like most guitarists, Gilmour plays a lot of blues licks (which use tones from the minor is a rare case ot Pink Floyd actually playing a blues chord progression. You will hear some notes that are out of the range of most guitars (soe measures 50, 51, 58, and 60), so you will probably want to play those sections an octave lower. It's interesting the way Gilmour changes the sound of his guitar for each chorus. The first and third choruses use his typical "wet" sound — reverb and echo — while the second chorus uses a completely “dry” sound. Notice also the use of double stops at the end of the first chorus (measure 21) This figure occurs again at the end of the second chorus (measure 45) this Money Waters ‘TRO-Copyright © 1973 Hampshire Houso Publishing Corp. New York, NY for the USA ané Canada, Copyright for the rest of the World by Pink Floyd Music Publishers Ltd. All Righ's Reserved Inciuding Public Parformance For Profit. International Copyright Socurod, Made in USA. Used by Permission.34 EmB I—> J 1516 focoGilmour uses @ very unusual guitar sound for this Solo: it sounds like the guitar signal was put through a Leslie cabinet. The Dm? to G7 chord progression lends itself to the Dorian mode of D, as in the descending line at measure 16. Measure 18 contains the only questionable note | found in all these solos, an F4 against a G7 chord, We hear a lot of double and triple stops, especially in the beginning. Some of these double stops are bent up half a step aa Chuck Berry (see measures 7 and 8). After the harmonica solo Dave plays a gorgeous line which outlines the new chord changes Any Colour You Like Gilmour/wright/Mason TRO-Copyright © 1973 anc 1981 Hampshire House Publishing Corp... New York NY for the USA and Canada Copyright for the rast of the World by Pink Floyd Music Publishers Ltd All Bights Reserved including Public Performance For Profit International Copyright Secured. Made in USA. Used by Permission, Moderately CT Dm7 22> 7a [A010 42jo 40 18 1218 6 ory Bq es = ee ee eg Harmonica Solo (Guitar fades into harmonica solo) 7+9 C87 Am ', Fe, 19In 1976, Pink Floyd comploted work on a concept album called Wish You Were Here. Among the many interesting parts created by Gilmour is the theme to “Shine On You Grazy Diamong, Part 2." It's simple two-bar phrase played with open strings so that all the notes can ring out. Roger Waters found this phrase so haunting that it inspired him to write lyrics about founding member Syd Barrett, who left the group In 1968 amid rumors of drug abuse and psychological problems. Shine On You Crazy Diamond, Part 2 Gllmour/Waters/Wrignt Copyrignt © 1982 For The World by Pink Floye Music Puplisners Ltd 27 Noel Street, London Wt intornational Copyright Socured. Mado in U.S.A, Al Rights Rezerved. Used by Permission Guitar Theme SlowlyThis solo is 2 good example of the “arranged” side of Gilmour's playing. Over some interesting and challenging chord changes we hear a solo that sounds as if it had been carefully worked out in advance. The primary solo is doubled by another guitar track shadowing the original part an octave higher. Some very nice bonds are heard here (both whole and half step} Shine On You Crazy Diamond, Part 4 Gilmour/Waters/Wright Sopyriant ¥ 1982 For The World by Pink Floyd Music Publishers Ltd BP Noe! Streot, London Wt International Copyright Secured. Made in U.S.A, A Rights Meserved. Used by Permission Moderately slow, in 2 Gn saesteeeseess atModerately slow An important aspect of David Gilmour's guitar style is his acoustic playing. We have here a nicely played acoustic guitar solo in the introduction to "Wish You Were Here.” | particularly like the finger vibrato he uses. it sounds as if his guitar was strung with extra slinky strings. Also impressive are the double stop slides that have an R&B flavor about them (see measure 3). The slides and open strings in the first measure remind me of Jimmy Page's playing on “Over the Hills and Far Away." Wish You Were Here Waters/Gilmour Copyright ® 1982 For The World by Pink Floyd Music Publishers Ltd 27 Noal Street, London Wt Intemational Gopyright Secured. Made in U.S.A. All Rights Reserved, Used by Permission étee aes ¢ 22Pink Floyd released Animals in 1977. The song “Dogs” has another acoustic guitar introduction by David Gilmour. Although the guitar is just playing chords, the chords are so interesting that | thought I'd show them to you Dogs Waters/Gilmour Gopysight © 1977 For The World by Pink Floyd Music Publishers Lto. 27 Noel Steet, London Wi International Copyright Secured. Made in U.S.A All Rights Reserved. Used by Permission. Acoustic Backup Pattern Tune all strings down one whole-step Dm9 Bb(add Eb) ass AbeSsus? arial oe om at ee a4 aan aan Mederately Dmg - Z a = (fade in) Dm9 SS Bo(add BY) FF Tt ——— sus4 A AbsSsus2This solo demonstrates the increasing sophistication and musical vocabulary of Gilmour's playing. Part of this may be attributed to the prevailing musical climate of the time. Jazz-rock fusion was having a serious impact on many musicians, and this solo, which is played over the same chords as the introduction, has a very jazzy fee! to it Gilmour departs here from the usual pentatonic scales and makes use of major, modal, and chromatic scales (see a dramatic demonstration of this in measures 15 and 16). We can also find here an example of the “ultra-bend,” That's when a note is bent up more than a whole step (see measure 12) Solo Moderately Dmg e : ==This is another example of the “arrangec” David Gilmour. In this solo, the guitar is doubled in thirds on a separate track, creating an Allman Brothers sound. I've notated both parts on the same staff so you can see how they work together But remember, this transcription is of two separate guitars playing two separate parts, which have been beautifully written and performed. Double-Tracked Solo Moderately c vo throughow) —— Csust c Dm ee 26\n 1978, David Gilmour released nis first self-titled solo album. This solo is taken from the single that was released from it. The rhythm ot the solo looks complex, but the slow tempo makes it easy to play. There’s No Way out of Here Baker Copyright © 1978 For The World Rock Music Oo. Lid., 27 Noel Street, London Wi International Copyngnt Secured. Made in US.A. All Rights Reserved Used by Permission Moderately slow Soa Pe Bue Sas a -- Em et Em 2Medium tempo Pink Floyd's 1979 release, The Wall, yielded their first hit single in twelve years, “Another Brick in tho Wall, Part 2." On this album David Gilmour turns in some of the best playing of his career. On this particular track you can hear all the Gilmour trademarks played with a rhythmic R&B touch. There is a thoughtful, almost restrained, feeling to the way Gilmour plays this solo. Vory prominent here are those Gilmour ultra-bends (see measures 2, 10, and 18), double stops (see measures 2 and 5 through 7). and triad voicings (see measure 28). Another Brick in the Wall, Part 2 Waters Copyrignt'© 1980 For The World by Pink Floyd Music Publishers Ltd, 27 Noel Street, London Wt International Copyright Secured Made in USA All Rights Reserved. Used by Permission é plier:Bag BRE RBRB weesceseeeseseee OB | saseansnesnees s aa nidaceese —— stn) ~ 104916 (a7 }18- oDItis always interesting to see how good quitarists treat simple chord progressions. A | IV V progression in G was used to set up the song “Mother,” also from The Wall. As he often does, Gilmour really nails the chords, featuring the third of the chord in almost every measure 0 that the solo guitar is in actuality outlining the narmony. Gilmour often uses 4-3 suspension in these situations (see measures 1, 3, and 9). In measures 7 and 6, a motif is created by bending to the third of each chord, followed by the root. Mother Waters Copyright © 1980 For The World by Pink Floyd Music Publishers Lta 27 Noe: Street, London Wi International Copyright Secured. Mado in U.S.A, Al Rights Reserveo, Used by Permission Moderately slow G c =Medium tempo Gilmour has put together a solo here that is worthy of the song title, featuring a lot of angry blues, especially in the first eight measures ‘over the Em chord. | like the way he changes registers (low to high) frequently for dramatic effect. In the following transcription | have indicated “harmonic picking” in those spots where his picking has produced harmonics above the fingered note. To achieve this effect yourself, hit the string with your fingertip and the tip of your pick at the same time. Also, check out the double stops where one note is bent and the other is held (see measures 4 and 13). In measures 8 and 9, where the chords begin to change, Gilmour has clearly. outlined the changes by playing the third of each major chord. Another Gilmour trademark is the use of nonpitched rhythmic attacks. These are indicated in the music by Xs (see measures 2, 16, 18, and 19). Young Lust Waters/Gilmour SGopyrignt © 1880 For The World by Pink Floyd Music Publishers Lc 27 Noel Street, London W". international Copyright Secured. Made in U.S.A All Rights Reserved. Used by Permission. EmFRE * (10) es G hharmonie picking harmonic picking 7 Sra ae ey34 Moderately D ‘These two solos, taken from “Comfortably Numb," are my personal favorites. They reflect the two sides of Gilmour's playing: the beautiful and lyrical side in the first solo and the angry, slashing side that takes over in the second solo. In the first solo, there is careful attention paid to the chords that are played underneath his lines—no random blues scales here. Yet despite all the “right” notes, there is an emotional and expressive quality that comes through. At the very beginning, you can see the Gilmour staples: the nonpitched rhythmic hits (indicated in the music by Xs} and his playing of the third of the chord to really state it (for example, his playing of an F4 against the D chord). Check out the lick in measure 4: I's an arpeggio outlining an A chord with 4-3 suspensions (that's when the Ds resolve to Cs) The beautiful and lush distortion ne employs here fits the mood perfectly. Comfortably Numb Waters/Gilmour Jnt © 1980 For The World by Pink Floyd Musie Publishers Lid., el Street, London 1 Intemational Copyright Secured, Made in US.A. All Bights Reserved, Used by Permission. First Soloi Ba ie D B All really great rock guitarists have one thing in common: They can really make the most out of the blues scale. Gilmour proves that he is no exception here in this hard-as-nails solo. Using the five notes of the B minor pentatonic scale, he creates a mood of hard-edged ‘emotion. An interesting feature of this solo is the woncertul rhythmic. quality of the licks. Notice the triplet figures in measures 8 and 16. In the last four measures, Gilmour goes into his lyrical mode and moves to.an extremely high register. Unless you have an oxtended-range neck, you will probably have to play measures 21 and 22 down an octave. Second Solo Moderately Harm,36 idG Em iE loco Fade out 37Moderately slow Em ____—__ The most interesting aspect of this solo is the way it builds from beginning to end. After playing the same middle-register bend for the first four measures, Gilmaur joins the band in the theme for the next two measures. In measures 7 through 10 he plays higher and higher and adds more and more notes, then winds down a bit as the song reaches it conclusion Hey You Waters Copyright ® 1980 For The World by Pink Floyd Music Publishers Lte. 27 Noe! Street, London W1 international Copyright Secured. Made in USA, All Rights Reserved. Used by Porrission.40 In 1984, Gilmour's second solo album, “About Face,” was released Moving into the eighties, we see a few new tricks revealed, such as the use of the whammy bar (see measure 3). | like the "Spanish sound of the thirds in measures 5 through 7, anc the use of triad voicings in the last four measures is very dramatic. David Gilmour the composer Is experimenting with the thythmic background here by using g measures mixed wit! ne g measures, This solo has a bit of a Beck feel to it, doesn’t it?Murder Gilmour Copyright © 1884 For The World by Pink Floyd Music Publishers Lic. 27 Noel Street, London W1. Intemational Copyright Secured. Made in US.A All Rights Reserved Used by Permission Moderately, in 2 G Dm (vib, with bar)Medium Rock beat ‘This was the first time | ever heard David Gilmour sound like Chuck Berry! Maybe the fact that he collaborated with Pete Townshend on this track had something to do with it. (This collaboration has resurfaced with the release of the latest Pete Townshend solo album White City; one of the tracks, “White City Fighting,” claims David Gilmour as a cowriter, the only one on the album.) It works very nicely, doesn't it? In measure 6, a second guitar plays in unison and thon breaks into thirds, That's two separate guitar tracks you're hearing, though I've notated them on the same staff. | really like the way both guitars whang down in the last measure. All Lovers Are Deranged Gilmour/Townshend Copyright © 1984 Pink Floyd Music Publishers Ltd./Eel Pie Publishing Ltc. International Copyright Secured. Made in U.S.A. All Rights Reserved. Used by Permission,This song has a very sophisticated background that uses compound chords. (A compound chord is a chord that uses nonchord tone as its bass note, giving it a whole new sound and color.) The solo features whang-bar vibrato (see measures 4, 5, and 16) and low-string bends (see measures 6. 8, and 21). A nice effect is the way the guitar plays the theme with the whole band in measures 9 through 12 and then moves on to piay in more of a solo style. in measures 22 through 24, open strings are used in a repeated lick that is a marked contrast to the melodic style that was used at the beginning of the solo. You Know I’m Right Gilmour Copyright © 1984 Fur The World by Pink Floyd Music Publishers Lt, 27 Noel Street, London W') international Copyright Secured. Made in US.A. All Rights Resorved, Used by Permission. Backup Pattern Mediam tempo gyp por GF or GF Bra gem dea (vib, with bar) (vib, with bar) (trem, bar)44 (ib, with bar) B® (trem, bart (iver, bar)This is the “arranged” David Gilmour at his very best. Here he is playing a melodic guitar solo with a beautifully distorted tone, backed by a symphony orchestra. As usual, the chords are very definitely stated by his sola lines, which are melodic as well as rhythmically interesting even though the usual rock and roll groove is not present. In fact, there is no rhythm section at all. Very impressive. Let’s Get Metaphysical Gilmour Gopyright © 1984 For The World by Pink Floyd Music Publishers Ltd 27 Now! Street, London W1 international Gopyright Secured, Made in U.S.A. All Rights Reserved. Used by Permission, Slowly and freely Fives Fm/Eb viet chpb AbiCute) —0-0 66