Hey there Everyone,
Here is a transcription of David Gilmour's solo at the intro of Wish You Were Here. This was the title track of one of Pink Floyd's most popular albums.
This is usually one of the first guitar solos I guide students through. It has a few tricks that require technique yet is simple enough for dedicated first year students to get a grasp on. This is partially due to the fact that Gilmour's style is highly melodic. One could sing most of the parts he plays on guitar.
It utilizes:
hammer ons
pulls offs
(when you play an additional note on a string that has already been stuck by hammering on or pulling off with your finger) [indicated by slurs]
double stops
(playing two notes at the same time)
slides
(similar to a hammer on, but the additional note is created by maintaining pressure on the fingerboard while changing frets) [indicated by grace notes]
bends
(pressing the string into a different position on the fingerboard to change the note)
I would encourage you to spell out the notes of the solo. Compare them to the chords that are being played. This is an important step if you wish to emulate Gilmour's style.
The chord progression under this solo is Em7 to G 2x and Em7 to A7sus4 2x.
Em7 G Em7 A7sus4
D D D D
B B B A
G G G G
E E E
Look at how many pitches carry over. D and G are constant. E and B are in 3/4's. A is the color tone.
Overall, David uses primarily chord tones, look at all the red notes! Proof that arpeggios should be practice of your practice routine ;). If we inspect the phrases over the Em7, he uses A repeatedly foreshadowing the progression coming. The other note choice that is interesting is that during the A7sus4 chords David consistently plays C#, the note that is altered by using a suspended chord instead of a major chord.
Let's look at is the arc of the solo.
Look at how few notes are presented in the first two measures. They may be fast, but they are balanced by rests and long tones.
The second pair of measures include the double stops. This raises our curiosity and the energy level. It's balanced by long tones that hold the entire second measure.
The third pair of measures has hardly any rests. It includes bends. The F on the 6th fret of the B string is a unique element. We bend the string before we play it and then release the bend to hear the E on the 5th fret. This is reverse of most bends we hear on the guitar.
The fourth pair of measures uses several bends and relaxes from the intensity of the previous phrase. It's a variation on the same ideas in the third system, starting and ending very similarly. While being a bit more docile, it also contains the highest note played during the solo, achieving a peak.
Another element that made this so successful is the development of an idea or motif.
Inspect the first four notes of each system. In 1,3 and 4 they are identical. In 3 and 4 it develops into a 6 note motif. This idea of theme and variation is a hidden element that can be found in nearly all successful music.
You can download the sheet music here.
As always, take your time, enjoy the process and keep playing. Christopher
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