DIAL TONE

What They Use: Jeff Beck used his famous, 1954 Gibson Les Paul “Oxblood” guitar on “Cause We’ve Ended as Lovers.” Basically, a repainted Gold Top (black with dark red under- tones) with PAF humbuckers replacing the original P-90 pickups, it’s the guitar he is pictured holding in the painting that graces the Blow by Blow album cover. Reportedly, he used a tiny Fender Champ amplifier for the recording!

How to Get the Sound: For best results, use the bridge pickup (preferably humbucking) of a solidbody electric, plugged into a slightly-overdriven tube combo amplifier. Accentuate the tre- ble and mids (around 7 or 8), but go easy on the bass (2 or 3). For echo, an analog pedal will work best. If you can’t get your hands on a Maestro Echoplex (likely used on the recording), check out the Electro- Harmonix Memory Man, or the MXR M169.

CLICK HERE FOR THE FULL, FREE "CAUSE WE'VE ENDED AS LOVERS" TAB IN THE GUITAR EDGE FEB. '10 DIGITAL EDITION

“Cause We’ve Ended as Lovers” Jeff Beck
Thirty-four years after it was recorded, Jeff Beck’s version of Stevie Wonder’s “Cause We’ve Ended as Lovers” still stands, for many, as the yardstick by which all other guitar instrumental ballads are judged. From the pivotal 1975 album, Blow by Blow (Beck’s initial foray into jazz-rock/fusion), the haunting ballad features the virtuosic guitarist at his emotional, melodic best. His variations on the melody are alone worth the price of admission, but it’s his uncanny ability to, almost literally, make his guitar talk, that makes this performance absolutely top-drawer. Even in the absence of lyrics, Beck gets the emotional point across. Desperation, urgency, anger, and hurt, are all personified through his seemingly-bottomless wellspring of guitar nuances that saturate his incomparable, dynamic style.

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THE FORM
For best results, use the bridge pickup (preferably humbucking) of a solidbody electric, plugged into a slightly-overdriven tube combo amplifier. Accentuate the tre- ble and mids (around 7 or 8), but go easy on the bass (2 or 3). For echo, an analog pedal will work best. If you can’t get your hands on a Maestro Echoplex (likely used on the recording), check out the Electro- Harmonix Memory Man, or the MXR M169.“Cause We’ve Ended as Lovers” follows the standard, jazz-performance format: Intro/ Head (melody of the tune)/Solos/return to Head/Outro. As is standard with instrumental performances, the transcription uses section letters (A, B, C, etc.) in place of headings (Intro, Verse, Chorus, etc.). Here’s how the sections function in the tune: A = Intro; B, C, E, H, and J = Main Theme (of the Head) and subsequent variations; D, F, and I = Bridge (of the Head) and variations; G = Solo; and K = Outro.

THE CHORDS
Jeff Beck sticks to lead chores throughout the tune, leaving keyboardist Max Middleton to supply the changes on a Fender Rhodes electric piano. (Classic tone, by the way.) If you’re unfamiliar with these types of chords (notated above the staff ), check out Figs. 1 & 2 for some suggested guitar voicings.

THE INTRO, MAIN THEME, AND BRIDGE
Beck’s crying, volume-swell infused, string bends in the Intro (section A) immediately establish a haunting, opening scene. (Pick each initial note with the volume knob of the guitar in the off position, then slowly twist the knob all the way up.) Melodically, the passage is a play on the opening strains of the Main Melody (top of measure 1 of section C). (Don’t overlook Middleton’s chord substitutions in this passage, which are a variation on the subsequent, four-bar progression of the main theme.) The rhythm section (bassist Phil Chenn, and drummer Richard Bailey) enters at the top of section B, establishing the chord progression of the Main Theme. However, Beck treats this passage as a secondary Intro, essentially playing a variation on his opening string bends.

At section C, Beck begins playing the Main Theme in earnest. Spread across a four-measure progression (Cm7–A♭maj7–Fm7–Csus4–C), which is played twice, the melody (along with the chords) is derived from the C minor scale (C–D–E♭–F–G–A♭–B♭), resolving to a C major tonality (C–D–E–F–G–A–B) in every fourth bar (where the chords are Csus4–C). Notice how, unlike many guitarists, Beck spreads the melody across the fretboard (from 10th position down to 1st) instead of staying in one position. Exploitation of the entire neck—for tonal variations as well as flash—is a hallmark of Beck’s style. Also, take notice of the “behind the nut” bends in measures 3 and 7. Aside from being an interesting guitar nuance, this is a valuable tool for emulating whammy-bar bends. (Remember, he’s playing a Les Paul.)

Letter D marks the Bridge section, which rides a three measure progression (D/C–Fm7–B♭7–Fdim/C–C), that is repeated, but with a Csus4 standing in for the previous Fdim/C chord. Notice that Beck restates the melody an octave higher in measures 4–6. Another staple of his style, he sometimes jumps octaves in the middle of phrases. In sections E and F, Beck plays pumped-up variations on the Main Theme and Bridge melodies. Highlights include the cycled bend/releases (measure 2 of section E, and measures 3 & 6 of section F), additional “behind the nut” bends (measures 3 & 7 of section E), and the “bridge to neck pickup” segue in mid phrase (end of measure 2, section E).

THE SOLO
Section G heralds the official start of the solo section. Using the four-bar progression of the Main Theme (with an unusual Gmaj9 replacement for the Csus4–C resolve), the band loops the progression a total of six times, making for a grand total of 24 measures. Beck weaves his way through the changes with a schizophrenic combination of effortless fluidity, inventiveness, and sheer “seat of his pants” daring. Over the Cm7–A♭maj7–Fm7 cadences, he bases many of his moves on the C minor scale and its derivatives [C minor pentatonic (C–E♭–F–G–B♭), and C blues (C–E♭–F–G♭–G–B♭)].But it’s during the“jazz/fusion”Gmaj9 inclusions where things really get interesting. Take measure 4 for instance, where, to compliment the true nature of the chord, he molds G minor pentatonic (G–B♭–C–D–F) shapes into a G major scale (G–A–B–C–D–E–F#) passage, with the use of strategically-placed bends. Also, check out the slippery, chord-tone targeting maneuvers in measures 8 and 16. Then there’s the bend/release to the F# at the top of measure 12, the flirtation with the G Lydian mode (G–A–B–C#–D–E–F#) in measure 20, and the whip-like octave dive in the final moments of the solo. Almost every measure in this transcription is a lesson in itself on the fine, subtle art of lyrical embellishment. So take your time going through it, cataloging moves that you can use to stimulate your imagination.

CLICK HERE FOR THE FULL, FREE "CAUSE WE'VE ENDED AS LOVERS" TAB IN THE GUITAR EDGE FEBRUARY 2010 DIGITAL EDITION

Want more? Check out these cool links at guitaredge.com

•    Get more Jeff Beck guitar tabs at guitarinstructor.com
•    Get the Jeff Beck Anthology guitar tab book at musicdispatch.com
•    Download “Cause We Ended as Lovers” from iTunes
•    Check out Jeff Beck online at jeffbeck.com
•    Check out Jeff Becks Signature Stratocaster at fender.com

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