It’s well worth listening to and learning, because Pink throws in some great stuff here, if you can follow it. As the song gets towards the last two versus it becomes a little chaotic, and that’s where this lesson ends. The second solo is identical to the first but played a little more spirited and less precisely. The original song has an odd structure, listen to get the exact number of versus and where to put the solos.
SNARE TRANSCRIPTIONS FULL
Here they are stuck together in the unofficial Fingerstyle Blues interpretation :ĭownload the full transcription That’s the bulk of the main bits and pieces. This is a cool little riff that Pink plays at some point during the outro. Concentrate on getting the idea of this rhythmic style under your belt before getting to the solo: The bass string riff is played with the thumb and doubled notes are hit using the thumb and index finger (or just the thumb if you can get the speed). To get the rhythm you need to hit the 6 string with your thumb, and on the off beat upstroke the top of the chord using your ring or middle finger. It starts with holding down a full G chord. The solo is deceptively simple: easy but hard to pull off properly. Notice the combination of finger picking and strumming, the right hand stays very busy. The turnaround/chorus part that comes in on the G chord in Bar 5 has a several variations which Pink throws in intermittently, the first pattern here is what is used most often. Take note of the pattern used the bars 2-4, it’s used consistently in all the picking parts which follow. The verses don’t vary much throughout the song. The single note run that starts in bar 5 is played by alternating the thumb and picking finger, for example: The intro plays a slightly modified version of the verses, shortening the d7 by a beat and jumping straight into this funky lick.
SNARE TRANSCRIPTIONS FREE
I’m going to strum through it a few times here using some different chord voicings, feel free to alternate back and forth when you start playing, it will give your performance more colour and dynamics. It follows this structure throughout the entire song. The verses are G D7 and C7 (I-V-IV), and the chorus/Turnaround is G7 E7 A7 D7 G. Take a minute to get comfortable with the progression and feel before we begin.
SNARE TRANSCRIPTIONS PDF
A downloadable pdf version of the following tabs is available at the end of this article. Listen to the examples to get the proper timing. Examples of this can be heard in many songs, the aforementioned ‘ Key to the Highway’ as well as ‘ East St Louis Blues’ performed here beautifully by William Brown (not to be confused with Willie Brown), and ‘ Searching the desert for the blues’ by Blind Willie McTell. This means its an 8 bar blues with the five chord switched with the four, making the structure I – V – IV as opposed to the more common blues progression I- IV- V. Take a listen to the original and we’ll get started with our modified interpretation: Įvery day in the week is played in the Key of G and uses what is commonly referred to as the ‘Key to the Highway’ progression after the song popularized Big Bill Broonzy. As you’ll hear in the original Anderson and accompanist obviously had a great time recording this track, and by the end of the song it sounds like they were having so much fun it careens wildly off the rails.
This is an energetic song played in the Piedmont style with a loose ragtime sort feel. 1 Carolina Bluesman and the album this version comes from, the great Gospel Blues & Street Songs album which features the songs of both Pink Anderson and Reverend Gary Davis. Every Day in the Week Blues is a classic Pink Anderson song which can be found on Pink Anderson: Vol.