Shamefully, I’ve never seen an episode of Buffy. I couldn’t even have hummed the theme tune before it was requested on the Patreon. Even so, it’s such a 90s-fest it gave me nostalgia.
And it’s dead simple. It’s mostly bashing out chords with a few single notes here and there.
Five Halloween riffs/intros: Thriller, Devil Went Down to Georgia, Sweet Dreams, Don’t Fear the Reaper and Jump in the Line Five More Halloween riffs: Voodoo Child (Slight Return), All the Good Girls Go To Hell, Suspiria Theme, Werewolf Bar Mitzvah, Evil Eye.
Zombie has had a strange journey from song about the troubles in Northern Ireland to a halloween staple. A change that some people might be happy to see. I remember the band Therapy? (who, unlike The Cranberries, are from Northern Ireland) attacking the song for its over-the-top imagery.
The chords for this arrangement are Em – C – G – D all the way through. Which is the same as the original (although the original is tuned slightly sharp).
The trickiest bit is recreating the vocal crack she does in the chorus in bar 28 then in bars 32-34. You can duplicate the vocal effect by stopping the strings ringing right after the hammer-on.
The solo is made up mostly of double stops on the E- and A-strings. That does create a few tricky sections (like 46) bit is more straightforward than most solos.
Following on from I Will Always Love You with the song Dolly wrote on the same day. I don’t know how it’s possible to write two all-time classics in one day.
The arrangement starts out with a very basic version of the chorus. You could play the verse in this style and create a nice arrangement.
Next is an approximation of the intro riff from the original. The syncopated rhythm is tricky to get the hang of. Apparently, even the session musicians had trouble getting it down. I’ve made a close up video for just this section. If you want to play along to the original, you’ll have to tune down half a step to Gb B Eb Ab.
The verse and chorus are based on an alternating thumb picking pattern (moving between the C and g-strings) like the original. Unfortunately, the melody sometimes strays onto the C-string which complicates matters. I found it a little tricky to switch in and out of the alternating pattern. But after starting super-low and gradually increasing the speed, it started to feel almost on autopilot after a while.
I Will Always Love You is one of those songs where a cover version has completely obliterated the original. But Dolly’s version is still my favourite. Specifically, the 70s countrified version rather than the syrupy 80s version. So I used that one as the basis for this arrangement. Although some of the phrasing might be closer to the Whitney Houston version.
The intro is the trickiest part of the arrangement with a couple of bends and a bar of 2/4 to navigate.
The arrangement uses a lot of arpeggios. So you really need to emphasise the melody notes so it doesn’t just become a mush. But you can rely on most people being familiar with the melody, so they’ll do some of the work for you.
You do need to prepare a bit for the high vocal trills in bars 15 and 19. There are open strings either side of those to give you a bit more time to move.
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Here’s my take on Jack Black and Kyle Gass’s lewd ode to soft loving. But if you don’t tell anyone what the title is, it functions nicely as a pleasant tune. The jump up the neck at the start of the chorus (bars 19 and 20) is particularly sweet.
And there are a few jumps up the neck to deal with. But the trickiest part is the rapid pull-on and hammer-on section in bar 26. If you struggling with that, you can replace the whole 10-12-10-8 with the A-string, 10th fret.
I’ve arranged the tune in D minor for ease of playing. And with it being so slow and sparse, it’s a pretty simple one to play. The only oddity is Ab chord in bar 8. Ab isn’t a chord you expect to find in a song in D minor. So it adds a dissonant and unsettling edge to the song (to match the rest of the movie). I bend the notes on the E-string, 4th fret in that bar to accentuate the dissonant sound.