Chords for Tip of the month: Steve Stevens shows how to play "Rebel Yell"
Tempo:
105.45 bpm
Chords used:
E
D
B
Bm
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So by popular demand
[F#]
I've been asked to show some some of the aspects of rebel yell
So the one main thing that people always [E] ask me about is the intro and and where did where did I come up with that?
and the intro was like There's a
It was a blues thing
You know, how did it go?
[C] [E]
[C#] [E] [B] One of these kind of like blues things where you had the right hand [Bm] was doing an independent bass line to [C#m] So
[E]
[Bm] [E] [B]
So if you [F#m] combine that kind of way of thinking and also some of the Keith Emerson things where he's got
you know, I always loved the fact that
keyboard players could play an independent part on the right hand and then keep a
different bass line going so
we had we had rebel yell as a song and then and then the thing that
[G#] That we'd always say is we need a flag at the front kind of like going.
Hey, here we come
That was usually a guitar thing and that was like even in you know, white wedding
[E] We came up with
There's one of silly little things but the minute you hear it you go odds really out of white wedding
[Bm] so with rebel yell, it was just
Really not [N] that that
Complicated
So that's the intro and that happens in the reintro as well
And then the more interesting thing and I think I've seen whenever I've seen people play rebel
yeah, I don't quite get is the fact that the
in the in the in the
Versus I never actually play the chord changes that the bass is playing because [B] the bass
[A#] [A]
[G#] [G] [E]
[D] [B] I never actually play [F#] that because I want to keep this
This this chord voicing as this note in the soprano
For some reason because it just works well against Billy's [E] melody.
So
[B]
[D]
[G] So [E]
[D] [B]
[D]
[G] [E] [D] [B]
[A] [B]
[A] [D]
[E] [D] [B] [Gm]
[A#]
it's kind of you know, it's a little bit of guitar [B] arrangement
you know thinking in terms of as I said with the that's kind of where the prog stuff comes in because I'm thinking in terms of
this one note being being that
The I think they it's called a pedal tone or something.
Well, you have one note that stays stagnant against moving chords
[E]
So that's kind of rebel yell.
I mean that's you know, I saw a face middle bit guitar riff I get
[D] [E]
[D]
[E] [D]
[E] [D]
[E] [C#m] [B] [D]
[E]
[D] [E] [N]
[F#]
I've been asked to show some some of the aspects of rebel yell
So the one main thing that people always [E] ask me about is the intro and and where did where did I come up with that?
and the intro was like There's a
It was a blues thing
You know, how did it go?
[C] [E]
[C#] [E] [B] One of these kind of like blues things where you had the right hand [Bm] was doing an independent bass line to [C#m] So
[E]
[Bm] [E] [B]
So if you [F#m] combine that kind of way of thinking and also some of the Keith Emerson things where he's got
you know, I always loved the fact that
keyboard players could play an independent part on the right hand and then keep a
different bass line going so
we had we had rebel yell as a song and then and then the thing that
[G#] That we'd always say is we need a flag at the front kind of like going.
Hey, here we come
That was usually a guitar thing and that was like even in you know, white wedding
[E] We came up with
There's one of silly little things but the minute you hear it you go odds really out of white wedding
[Bm] so with rebel yell, it was just
Really not [N] that that
Complicated
So that's the intro and that happens in the reintro as well
And then the more interesting thing and I think I've seen whenever I've seen people play rebel
yeah, I don't quite get is the fact that the
in the in the in the
Versus I never actually play the chord changes that the bass is playing because [B] the bass
[A#] [A]
[G#] [G] [E]
[D] [B] I never actually play [F#] that because I want to keep this
This this chord voicing as this note in the soprano
For some reason because it just works well against Billy's [E] melody.
So
[B]
[D]
[G] So [E]
[D] [B]
[D]
[G] [E] [D] [B]
[A] [B]
[A] [D]
[E] [D] [B] [Gm]
[A#]
it's kind of you know, it's a little bit of guitar [B] arrangement
you know thinking in terms of as I said with the that's kind of where the prog stuff comes in because I'm thinking in terms of
this one note being being that
The I think they it's called a pedal tone or something.
Well, you have one note that stays stagnant against moving chords
[E]
So that's kind of rebel yell.
I mean that's you know, I saw a face middle bit guitar riff I get
[D] [E]
[D]
[E] [D]
[E] [D]
[E] [C#m] [B] [D]
[E]
[D] [E] [N]
Key:
E
D
B
Bm
A
E
D
B
So by popular demand
_ _ [F#] _ _
_ _ I've been asked to show some some of the aspects of rebel yell
So the one main thing that people always [E] ask me about is the intro and and where did where did I come up with that?
and the intro was like There's a
_ It was a blues thing
_ You know, how did it go?
_ [C] _ [E] _ _ _ _
[C#] _ [E] _ [B] _ _ _ One of these kind of like blues things where you had the right hand [Bm] was doing an independent bass line to _ [C#m] So
_ [E] _ _ _ _ _
_ [Bm] _ _ [E] _ _ _ _ [B] _
_ So if you [F#m] combine that kind of way of thinking and also some of the Keith Emerson things where he's got
you know, I always loved the fact that
keyboard players could play an independent part on the right hand and then keep a
different bass line going so
we had we had rebel yell as a song and then and then the thing that
[G#] That we'd always say is we need a flag at the front kind of like going.
Hey, here we come
That was usually a guitar thing and that was like even in you know, white wedding
_ [E] We came up with
_ _ There's one of silly little things but the minute you hear it you go odds really out of white wedding
[Bm] so with rebel yell, it was just
_ _ _ _ _ _ _ _
_ _ _ _ Really not [N] that that
_ _ _ _ Complicated
So that's the intro and that happens in the reintro as well
_ And then the more interesting thing and I think I've seen whenever I've seen people play rebel
yeah, I don't quite get is the fact that the
in the in the in the
Versus I never actually play the chord changes that the bass is playing because [B] the bass _ _ _
_ _ _ _ _ _ [A#] _ [A] _
_ _ _ [G#] _ [G] _ _ _ [E] _
[D] _ [B] _ _ I never actually play [F#] that because I want to keep this
This this chord voicing as this note in the soprano
For some reason because it just works well against Billy's [E] melody.
So
[B] _ _ _ _
_ _ _ _ _ _ [D] _ _
_ _ [G] So _ _ _ [E] _
[D] _ [B] _ _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
_ [G] _ _ _ [E] _ _ [D] _ [B] _
_ _ _ [A] _ [B] _ _ _ _
[A] _ _ [D] _ _ _ _ _ _
_ [E] _ _ [D] _ [B] _ _ _ [Gm] _
_ _ _ _ _ _ _ [A#] _
it's kind of you know, it's a little bit of guitar [B] arrangement
you know thinking in terms of as I said with the that's kind of where the prog stuff comes in because I'm thinking in terms of
this one note being being that
_ The I think they it's called a pedal tone or something.
Well, you have one note that stays stagnant against moving chords
_ [E]
So that's kind of rebel yell.
I mean that's you know, _ _ _ _ _ _ I saw a face middle bit guitar riff I get _ _ _
_ _ [D] _ _ _ _ _ [E] _
_ _ _ _ [D] _ _ _ _
_ [E] _ _ _ _ [D] _ _ _
_ _ [E] _ _ _ _ _ [D] _
_ _ [E] _ [C#m] _ [B] _ _ _ [D] _
_ _ _ [E] _ _ _ _ _
_ [D] _ _ _ [E] _ _ [N] _ _
_ _ [F#] _ _
_ _ I've been asked to show some some of the aspects of rebel yell
So the one main thing that people always [E] ask me about is the intro and and where did where did I come up with that?
and the intro was like There's a
_ It was a blues thing
_ You know, how did it go?
_ [C] _ [E] _ _ _ _
[C#] _ [E] _ [B] _ _ _ One of these kind of like blues things where you had the right hand [Bm] was doing an independent bass line to _ [C#m] So
_ [E] _ _ _ _ _
_ [Bm] _ _ [E] _ _ _ _ [B] _
_ So if you [F#m] combine that kind of way of thinking and also some of the Keith Emerson things where he's got
you know, I always loved the fact that
keyboard players could play an independent part on the right hand and then keep a
different bass line going so
we had we had rebel yell as a song and then and then the thing that
[G#] That we'd always say is we need a flag at the front kind of like going.
Hey, here we come
That was usually a guitar thing and that was like even in you know, white wedding
_ [E] We came up with
_ _ There's one of silly little things but the minute you hear it you go odds really out of white wedding
[Bm] so with rebel yell, it was just
_ _ _ _ _ _ _ _
_ _ _ _ Really not [N] that that
_ _ _ _ Complicated
So that's the intro and that happens in the reintro as well
_ And then the more interesting thing and I think I've seen whenever I've seen people play rebel
yeah, I don't quite get is the fact that the
in the in the in the
Versus I never actually play the chord changes that the bass is playing because [B] the bass _ _ _
_ _ _ _ _ _ [A#] _ [A] _
_ _ _ [G#] _ [G] _ _ _ [E] _
[D] _ [B] _ _ I never actually play [F#] that because I want to keep this
This this chord voicing as this note in the soprano
For some reason because it just works well against Billy's [E] melody.
So
[B] _ _ _ _
_ _ _ _ _ _ [D] _ _
_ _ [G] So _ _ _ [E] _
[D] _ [B] _ _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
_ [G] _ _ _ [E] _ _ [D] _ [B] _
_ _ _ [A] _ [B] _ _ _ _
[A] _ _ [D] _ _ _ _ _ _
_ [E] _ _ [D] _ [B] _ _ _ [Gm] _
_ _ _ _ _ _ _ [A#] _
it's kind of you know, it's a little bit of guitar [B] arrangement
you know thinking in terms of as I said with the that's kind of where the prog stuff comes in because I'm thinking in terms of
this one note being being that
_ The I think they it's called a pedal tone or something.
Well, you have one note that stays stagnant against moving chords
_ [E]
So that's kind of rebel yell.
I mean that's you know, _ _ _ _ _ _ I saw a face middle bit guitar riff I get _ _ _
_ _ [D] _ _ _ _ _ [E] _
_ _ _ _ [D] _ _ _ _
_ [E] _ _ _ _ [D] _ _ _
_ _ [E] _ _ _ _ _ [D] _
_ _ [E] _ [C#m] _ [B] _ _ _ [D] _
_ _ _ [E] _ _ _ _ _
_ [D] _ _ _ [E] _ _ [N] _ _