Step­pen­wolf

Although born to be mild, this month Martin Cooper heads out on the high­way, lookin’for adventure and runs into 60s Amer­i­can psy­che­delic rock­ers Step­pen­wolf!

Guitar Techniques - - LESSON: ROCK -

project with the leg­endary pro­ducer Phil spec­tor, but var­i­ous dis­agree­ments put an end to any mean­ing­ful mu­si­cal re­la­tion­ship be­tween the band mem­bers.

John kay still re­tains the rights to tour as John kay and step­pen­wolf, and there is def­i­nitely a mar­ket th­ese days for the band’s brand of clas­sic rock – fans will al­ways want to hear Born To be Wild!

This month’s piece is in the key of a ma­jor (a-B-C#-d-e-F#-G#) as writ­ten in the no­ta­tion, but ac­tu­ally has a lot of notes and chords out­side of that key. For ex­am­ple the gospel-blues type of chords in the first part of the song have an a in the bass, but play an a ma­jor chord, d ma­jor chord and G ma­jor chord over the top of it (sug­gest­ing a mixoly­dian: a B C# d e F# G). The chord sym­bols keep the bass note in mind through­out, so the in­ver­sions on the no­ta­tion are made com­plete by the bass gui­tar notes.

You’ll find three-note triad shapes, such as the d and C ma­jor chords in the mid­dle and end sec­tions of the track, and also some chro­mati­cism on the rhythm and lead part.

The solo fol­lows the har­mony of th­ese chro­matic chords, and then in the fi­nal eight bars has a bluesy melody line that uses pre­dom­i­nantly a do­rian (a-B-C-d-e-F#-G), thus high­light­ing the G and C chords, which ac­tu­ally im­ply the G ma­jor scale.

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