I can hear the legions of Standard Notation Defenders sharpening their swords even as I write this. I’m sorry—I think it’s crazy how militant some teachers are about starting their students with note reading, as if tablature were some gateway drug that starts guitarists on a path of laziness and stupidity. The opposite is true. Tablature is a fantastic tool for making guitar music accessible to beginners.

Granted, being able to read standard music notation opens many doors. It’s essential for jazz, orchestral, classical, or studio guitarists. In the same way, understanding basic algebra is essential for anyone who wants to manage their business’ finances. So do you teach algebra in kindergarten?

Your primary goal in teaching most beginners is to get them hooked on playing guitar. Every once in a while you’ll get a beginner who’s so psyched on guitar that they’re hungry for the challenge of learning note reading. But the vast majority are wary, and rightfully so. The guitar is a tough instrument at first. It’s much harder to get a guitar to sound good than, say, a piano. Why compound the challenges of buzzing strings, tuning difficulties, sore fingertips, and the dreaded F chord, with the epic task of learning note reading?

Steve was a hardcore classic rock fan. He loved “Freebird” by Lynard Skynard, for example. He’d sing along with it on the radio, and said once that he’d like it played at his funeral. So I considered playing a recording of it, but like most other rock songs I looked at, “Freebird” just isn’t right for a memorial service. It starts off OK, but the long, frenetic solo at the end would have given grieving loved ones no space to mourn. As I shot down “Freebird,” as well as several AC/DC, Creed, and even a Sarah McLachlan song (”Angel”–it was just too dark), I realized the song I was looking for needed to

• be something he would have liked
• have a peaceful energy level
• offer some comfort

While sifting through Google’s search results for “Rock Funeral Songs,” I finally found it: “Long as I Can See the Light” by Creedence Clearwater Revival. CCR’s a band most classic rockers love, but John Fogerty’s gritty voice, heavy drums, and crunchy guitar are tempered by smart lyrics that don’t follow the rock’s typical “I’m a bad-ass and I don’t need you” formula.

Steve led a troubled life, in and out of love, addiction, the police station, and contact with his family. The lyrics of “Long as I Can See the Light” matched Steve’s not fitting in with his family or society. And the symbol of the candle gives the song a spiritual element:

Put a candle in the window
‘Cause I feel I’ve got to move
I’m going, I’m going–I’ll be coming home soon
Long as I can see the light.

Pack my bag and let’s get moving
‘Cause I’m bound to drift a while.
I’m going, I’m going—You won’t have to worry no more
Long as I can see the light.

Guess I got that old travelin’ bone
‘Cause this feeling won’t leave me alone
But I won’t, I won’t lose my way
Long as I can see the light.

In addition to the CCR song, the service included the participation of many family and friends telling stories, reading prayers, and a gorgeous sax performance of “Amazing Grace.” On the whole, it was a profoundly moving outpouring of love for a man who, despite his troubles, will be deeply missed.

At the reception, an 8-year-old relative who I hadn’t met strode up to me and asked if I was famous. It turns out she’s enamoured with guitar and, by association, me. I told her I wasn’t famous, but that there were lots of other reasons to learn to play music besides being famous—making parties and holidays more fun, making friends in high school, etc.

What I didn’t say, but what I was thinking, was that it had helped me give my cousin a proper burial.

On Saturday we performed “Pet” for a packed show at Seattle’s Town Hall. Whoever said people in Seattle don’t dance at concerts doesn’t know anyone under the age of eight.

And here’s the video of our album version.

Sorry, there’s no cure for the worm that has now infected your ear. Sooooozy’s got a pet! Jaaaaaahnny’s got a pet!

The song’s written by the duo Glen Hansard (also of The Frames), and Marketa Irglova, who perform under the name Swell Season, and who were featured in the wonderful movie Once. “Falling Slowly” won an Oscar for Best Original Song in 2007.

I’ve never played like this–just guitar and piano. I’m struck by how well the timbres of the two instruments complement each other. They blend without fighting, even when we’re playing in unison. The piano’s powerful low notes and delicate highs fill out the edges of the sonic spectrum, and I think the guitar adds some nice grit to the middle.

Meg and I are also harmonizing through most of the songs, and I’m loving that too. This must be what great dancers feel.

Here’s a live performance of “Falling Slowly”:

That’s right, after a yearlong hiatus because of my injured shoulders, the Coffee Shop Jam is back. On May 30, we’ll take over The Columbia City Theatre, a cool old vaudeville-style club in south-Seattle, and fill the place with my students’ eclectic mix of alt-country, folk, indie-rock, and AC/DC-inspired songs about guinea pigs (that would be Connor, in the photo executing a sweet pick slide).

As you can tell, I’m pretty pumped.

If you don’t know what Guitar Pro 5 is, I explain it and have a short video tour here.

DISCLAIMER: Most of these files were not created for public consumption. Most were not even meant to be played back on a computer—I’d usually just print them out for my students—so the tempo, for example, is a little off on most of the songs. Also, many of these versions are simplified to bring them down to the skill level of my less-experienced students. Don’t expect note-for-note accuracy (although some of the songs are pretty darn accurate).

I hope you find something here you like!

“Like the Weather” Main Riff by 10,000 Maniacs

12-Bar Blues in A
A simple blues shuffle with a cool turnaround. Memorize this and you’ll be able to jam with anybody who knows the blues.

“Sock Hop” by All-Time Quarterback
Obscure song by Death Cab’s frontman Ben Gibbard.

“Angel from Montgomery” Fills by John Prine
These are some fills I made up that you can play in between the vocals.

“E-Pro” Main Riff by Beck

“Ben 10 Theme”
The melody to the theme song of this kid’s show. Very catchy.

“California Stars” Solo by Billy Bragg and Wilco

Blues Turnarounds
A collection of common turnarounds in a variety of keys.

“Fall Apart Again” Main Riff by Brandi Carlile

“Folsom Prison Blues” Solo by Johnny Cash

Country Solo Using 6ths
This was the culminating project I designed for a student who was learning how to harmonize by 6ths. I don’t play much country, so it was a fun challenge to compose this.

“Your New Twin Sized Bed” Riffs by Death Cab For Cutie
I love this song. So glad one of my students requested it.

“The Flame of Youth” Intro - Dragonforce
Connor, one of my 8-year-old students, is a Guitar Pro fanatic and loves all these frenetic Dragonforce songs. I used The Amazing Slow-Downer to figure out this fast intro.

“Goodbye” Verse by Steve Earle
This is an approximation of what Earle’s playing while he sings.

“Goodbye” Solo by Steve Earle

“Edelweiss” - Uke Version
Very simple, written for a 6-year-old.

“Gilligan’s Island Theme”
A 7-year-old wanted to learn this. She’s not ready to navigate the stormy key changes, but we had a nice 3-hour tour learning the first part.

“Hard Time Killing Floor” by Buddy Guy
The fingerstyle solo I came up with here is inspired by Guy’s version of the song.

Harmonized Eb Major Scale
Harmonizing by 3rds
Harmonizing by 6ths Exercise
I used these three files teaching students how to harmonize a major scale. Great stuff to know if you like to play lead.

“Feels Like Rain Intro” by John Hyatt
I’m not happy with the rhythm in this transcription–it’s a little off.

“Hey Jesus” Intro by The Indigo Girls

“Creeper” Riff by Islands

“Slow Rollin’ Low” Intro by Waylon Jennings
Very cool boogie-woogie guitar.

“Wasting Time” Solo by Jack Johnson
Good beginner’s solo, good for practicing hammer-on’s and pull-off’s.

“A Hold on Me” by Diana Jones
Very cool fingerstyle blues song.

“My Remembrance of You” Fills by Diana Jones

“My Remembrance of You” Solo by Diana Jones
I think the original recording has a fiddle solo, so I came up with this guitar solo for my student who wanted to play it live.

Kid’s Riffs
Great riffs for the total beginner.

“Beautiful Girls” by Sean Kingston
This is the bass line sampled from Ben E. King’s “Stand By Me”.

“Calling Dr. Love” by KISS
I have a 4-year-old student who loves KISS. I taught him this bass line.

“Killing the Blues” by Alison Krauss and Robert Plant
I came up with this fingerstyle guitar arrangement.

“Sister Rosetta Goes Before Us” by Sam Phillips, as performed by Alison Krauss

“If You Were to Wake Up” by Lyle Lovett
I love this song.

“Mary Had a Little Lamb”
A very easy arrangement for two guitars, composed for a couple 7-year-olds who wanted to play together.

“Maybe I’m Amazed” Intro by Paul McCartney
This is the intro Jem plays in her cover of this song.

“Maybe I’m Amazed” Solo by Paul McCartney
I’m very happy with this flatpicking solo I came up with. Sounds great on solo guitar.

“Brown Eyed Girl” Riffs by Van Morrison

“My Name is Carnival” by Jackson C. Frank

“I Can’t Help But Wonder Where I’m Bound” by Tom Paxton

“Bad Diary Days” Riffs by Pedro the Lion

“I Am Always The One Who Calls” Riff by Pedro the Lion

“Naked and Famous” Intro by The Presidents of the United States of America
In drop-D tuning (tune your low E string down a whole step to a D).

“Peaches” Riffs by The Presidents of the United States of America

“Steady as She Goes” Lead by The Raconteurs
Played during the last verse

“Steady as She Goes” Chorus Bass Line by the Raconteurs

“Love Me Like a Man” Riffs by Bonnie Raitt

“Love Me Like a Man” Solo by Bonnie Raitt
Awesome acoustic blues solo.

“Put Your Records On” Main Riff (simplified) by Corinne Bailey Ray

“Rockville” Transition Riff by REM

“Talk About the Passion” Riffs by REM

“Disturbia” by Rianna
Very simple, written for a 7-year-old

“Rosewood Casket” Solo
I came up with this fingerpicking solo for this traditional folk song.

“Closing Time” Solo (easy version) by Semisonic
This might be in a different key, too–can’t remember.

“Only Living Boy in New York” Bridge Riff by Simon and Garfunkel

“Windfall” Intro by Son Volt

“Soul Meets Body” Riffs by Death Cab For Cutie

“Pick of Destiny (POD)” Solo by Tenacious D

“Pick of Destiny (POD)” Verse Riff by Tenacious D

“Transformers Theme Song”
Written out for an 8-year-old.

“Pancho and Lefty” Solos by Townes Van Zandt
I love this song, and I’m happy with my work transcribing the solos.

“Ventura Highway” Vocal Harmonies by America
My buddy Nick got it in his head that we’d perform this song with another friend. I wrote out the vocal harmonies in preparation for our rehearsals.

“Paper Wings” Intro by Gillian Welch

“(What’s So Funny ‘Bout) Peace, Love, and Understanding” Solo by Elvis Costello
I wrote out this bluegrass-inspired solo for a student. Why not use the original? Couldn’t make it out, it’s so buried in the mix.

“Heart of Gold” Main Riff and Solo by Neil Young

Have fun!

This technique has a rich tradition—the Beatles made liberal use of it, Led Zeppelin was demonized for allegedly exploiting it, and, in my opinion, we are all better for it.

Here is my list of Great Backwards Moments In Rock.

1. “Are You Experienced?” by Jimi Hendrix

This song is a cornucopia of backwards recordings. The intro (listen to the original and reversed versions) features a backwards recording of Jimi strumming strings while muting them with his fretting hand. Throughout the song, backwards recordings of the cymbals and snare drum ebb and flow, enhancing the psychadelic lyrics. And the whole guitar solo is backwards (listen to the original and reversed versions). Groooovy!

2. “Stairway to Heaven” by Led Zeppelin

Growing up, I heard rumors of rock songs that, if you played them backwards, would reveal satanic messages. In the 1980’s, Christian groups accused prominent rock bands of using this technique (called backmasking) to corrupt their fans.

When I was 11, I tried unlocking hidden messages on Kool and the Gang’s Celebration (my first record), and only succeeded in tweaking my record player’s needle. But now with digital recording software, there’s no need to bend needles or scratch vinyl. A couple mouse-clicks are all you need to unlock the Dark Lord’s missives.

So what does Beelzebub have to say? Well, apparently when Satan fell from grace, he sustained a serious head injury. “Stairway to Heaven,” the most notorious of the satanist-recruiting-classic-rock-songs, is a typical example of infernal incoherence.

The passage in question (listen) goes,

If there’s a bustle in your hedgerow, don’t be alarmed now. It’s just a spring clean for the may queen. Yes there are two paths you can go by; but in the long run, there’s still time to change the road you’re on.

And here’s the supposed satanic verse when you listen to it backwards (listen):

Here’s to my sweet Satan. The one whose little path would make me sad, whose power is Satan. He’ll give those with him 666. There was a little toolshed where he made us suffer, sad Satan.

So Satan’s sweet? And sad? And he has a little path that makes us sad? This doesn’t sound like the Lord of the Flies, it sounds like Judy Garland wandering wistfully down the yellow-brick road.

Granted, the toolshed part is a bit creepy, but I thought these subliminal messages were supposed to hypnotize vulnerable teenagers into joining the Devil’s ranks. A story of torture in a toolshed is hardly effective recruiting material. Where are the earthly pleasures I was promised? I’m so confused.

3. “Empty Spaces” by Pink Floyd

Now here’s a real backmasked message, found in this ominous track from Pink Floyd’s masterpiece, The Wall. (Listen to the original, and reversed versions).

I found this information on Wikipedia:

Directly before the lyrical section, there is a hidden message. It is isolated on the left channel of the song. When heard normally, it appears to be nonsense. If played backwards, the following can be heard:

-Hello, Luka [hunters]… Congratulations. You have just discovered the secret message. Please send your answer to Old Pink, care of the Funny Farm, Chalfont…
-Roger! Carolyne’s on the phone!
-Okay.

It is believed that this backward message is a comical reference to former lead singer/guitarist Syd Barrett. The very beginning, which is hard to hear, is disputed: Roger Waters congratulates either a girl named Luka, or ‘hunters’ (i.e. people who deliberately look for backward messages hidden in songs) for finding this message, and jokes that she (or they) can send her (or their) answer to Syd (the ‘Old Pink’), who lives somewhere in a funny farm (a term to describe a Psychiatric hospital) in Chalfont. Before he can tell the exact location, however, he gets interrupted by someone (engineer James Guthrie) in the background who says Carolyn (Waters’ wife) is on the phone.

4. “You Can Call Me Al” by Paul Simon

The musicianship on Paul Simon’s Graceland album is incredible, and some of my favorite performances are the bass grooves of Bakithi Kumalo. The second half of his explosive bass solo on “You Can Call Me Al” is a backwards-recording of the first half (listen).

5. “You Shook Me” by Led Zeppelin

What can I say? I’m a Zeppelin fanatic. This track features reverse-echo, a technique where reverb is applied to a track, but isolated on a separate track so that the track contains only the reverb, not the parent sound. Then the track is reversed, and mixed back in with the parent track (and the rest of the song) so that the reverb precedes the parent sound. The result is this fantastic foreshadowing of sound, as you’ll hear in the call-and-response between Robert Plant (on vocals) and Jimmy Page (on guitar) (listen).

Here’s Jimmy Page’s account of how the recording happened:

During one session [with The Yardbirds], we were recording “Ten Little Indians”, which was an extremely silly song that featured a truly awful brass arrangement. In fact, the whole track sounded terrible. In a desperate attempt to salvage it, I hit upon an idea. I said, “Look, turn the tape over and employ the echo for the brass on a spare track. Then turn it back over and we’ll get the echo preceding the signal.” The result was very interesting — it made the track sound like it was going backwards.

Later, when we recorded “You Shook Me”, I told the engineer, Glyn Johns, that I wanted to use backwards echo on the end. He said, “Jimmy, it can’t be done”. I said “Yes, it can. I’ve already done it.” Then he began arguing, so I said, “Look, I’m the producer. I’m going to tell you what to do, and just do it.” So he grudgingly did everything I told him to, and when we were finished he started refusing to push the fader up so I could hear the result. Finally, I had to scream, “Push the bloody fader up!” And lo and behold, the effect worked perfectly.

So those are my five favorite backwards-recordings. What are yours?

For most of my life, in some way or another, I’ve let society influence my enjoyment of music. Since middle-school, I’ve known that there was cool music and lame music, and I didn’t let myself fully enjoy some kinds of music because I knew they were uncool.

But for the past couple years, most of that tendency has fallen away, thank goodness. Maybe it’s because I make music with kids a lot now, and their less prejudicial experience of music has rubbed off on me; or maybe I’ve just finally become comfortable in my own skin. Whatever the reason, I hear a song like “Stairway”—a song that most people consider horribly over-played—and if I like it, I abandon myself to it.

Sure, there are some songs that I am sick of, or just don’t like, and that’s fine. But there are tons that I really should be sick of, or aren’t considered edgy or indie by a lot of my peers (U2 comes to mind), yet they still send me soaring when I hear them. Why cut yourself off from all that joy?

So how can I pass this on to my students? So many of them, especially my teens, have such strong opinions about Cool. Any ideas?

There’s something about squishing together all those YouTubers, many of whom would rank low on the funkometer on their own, that makes every one of them funkalicious. Maybe it’s just the music—everyone in earshot gets the funk on them, even the geeky shredder running through scales.