It’s taken longer than it should have, but I now have four songs which are complete in the most basic sense of the word. They have chords, words, melodies and vague sense of feel. But they are far from finished. If I was writing for a band, now would be a time to introduce them and start shaping up an arrangement. This still needs to happen, but for the time being I’m doing so on my own, so it involves thinking about the fingerstyle arrangement and throwing in those ‘fiddly bits’ between the basic patterns. If this was cake baking, now would be time for the icing.
Bold Little Weasel already feels like the most complete of the new tunes, so was a natural choice to begin this process with. I decided I wanted a main ‘theme’ to represent the weasel, a solo part in the middle of the song, and a fill to link the bridge back to the final verse. Using Guitar Pro, I looped the basic fingerstyle arrangements over which these parts will be played and jammed over them to develop some ideas. The guitar parts to Bold Little Weasel have drifted away from their original inspirations; it now sounds quite ‘folky’, and I want to rectify this by alluding to Egyptian music in parts.
I began jamming on a stereotype: the famous(ly silly) Egyptian riff from the song Streets of Cairo, as quoted by the Beatles in the clip above. Transposing this to fit the key of Bold Little Weasel, I jammed over the verse chords, extending and altering the notes until I hit upon something which sounds different enough and interesting. These Eastern notes were a little unsettling, so I concluded they wouldn’t work as part of the main theme, but would suit the opening stages of the solo, which then blossom into a wider palette of notes. I also explored the ‘Egyptian’ scale to bring the bridge back to the verse chords, on the appropriate line “Egyptian dervish spins.”
The opening theme of the song (which I dubbed ‘the weasel’s theme’) needed something a bit brighter, cheerful, and reflecting the energy of the song’s subject. So here I left the Eastern scales behind and instead experimented with major hammer-ons and pull-offs on the major scale – more familiar territory for my fingertips.
Having come up with these lines, I worked them into my transcription directly. What emerges is rather busy, and realistically, a considerable challenge to play. And so the next step of filling in the gaps is to then shovel off the earth that doesn’t need to be there. A lot of the incidental notes of the basic arrangement become redundant when matched with the themes and solo. Some thought also needs to given to how the arrangement can be simplified. For example, the A section of the verse works with a G shape on the bass strings being slide up to 5th fret, with the relative root being A. When playing the leads, this is much more easily played as the open fifth string, leaving fingers free to tackle other notes – as seen in the transcription below.
Needless to say, I’m still a long way short of physically being able to play these leads. A lot of work needs to go into that step. In the meantime, you can listen to the Midi performance of the theme and solo as they currently stand. Hopefully, when this music is performed on a real instrument it won’t sound so much like the tune to a level of Lemmings!