ptabClassical Gas (ver. 3)Mason WilliamsMason Williams Kit Morganbaykamber@gmail.com1997ÿí"INTRO & MAIN THEME: The theme is 4-bar pattern, played four times through. Note the slight variations in the fourth bar of each pattern (bars 14 and 18), and the unexpected time signature changes, which are made harder to follow by some cunning dashed accents - if reading isn't your forte, it might be easier to learn these phrases parrot-fashion. CHORUS: We're in 4/4 again, so keep the bass nptes even and watch for the 'tied' phrasing in the melody. Try to plot out which melody notes are 'with' a bass note and which are 'between' bass notes. Don't relax too much because we're back to tricky time signatures again in bar 42. Do learn these rather than count them, or you'll loose rhythmic feel. THE WELL-DODGY HORNS BIT Notice that the A bass note continues underneath the melody (as played by the horns on the original) despite the fact that the melody is suddenly in Db! It thn repeats the phrase up a minor third (E major) before another flurry of accents and the time signatures. This section does feel odd, so you may be forgiven for leaving it out altogether in the interest of good taste! SOLO SECTÝON: It's important to keep the bass notes even here, despite what your other fingers are doing - note the clever phrasing at bars 63 and 64. The notes are grouped in threes, as are the accents, tricking the listener into a 3/4 lilt, when the time signature stays in 4/4. At bar 74 the chord structure is the same as th main theme, but each chord is given one beat instead of two. This builds tension and leads neatly into another chorus. At bar 86 (the end of the second chorus) you'll notice the horrific-looking demi-semiquaver arpeggiation. To play this flamenco-style section, run your thumb across the strings from the fifth to the second string then immediately strike the open first string with the first finger and run it back up the strings to the fifth. CODA FROM HELL: Yes, it's a phrasing nightmare. The piece has been in A minor almost throughout, but the last chord is A major. This is called a Tierce de Picardie, and it's a trick commonly used by writers who want to be seen as serious classical composers - or perhaps it's just that they like happy endings?" 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