In the ‘70s, instrumental rock was a staple of radio and “Frankenstein” became one of the most well-know rock instrumentals of all time. Written by multiinstrumentalist Edgar Winter, it was one of the first tracks to feature the synthesizer as a lead instrument. This tune came from Winter’s 1972 album, They Only Come Out at Night. Both Ronnie Montrose and Rick Derringer played guitar on the album.

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INTRO
For this arrangement, we have transcribed many of the synth, saxophone and organ parts for guitar and used divisi to make multiple parts playable by one guitar. Divisi is when two or more parts share the same staff. In section A, Gtr. 1 comes in with the main riff and then Gtr. 2 (which is actually a synth) plays a passage based out of the G blues scale (G–B♭–C–D♭–D–F). Even tough there are two guitar parts in section A, both are easily played by one guitar.

Gtr. 3 comes in at letter B with the melody that is harmonized with Gtr. 1. This is the first of many licks in this song that have a chromatic sequence added to the minor pentatonic scale. In the first measure of this section, the riff begins with a 6–♭7–7–root sequence that is repeated a fourth higher a few measures later. Two measures before letter C, Gtr. 2 and Gtr. 3 play a riff that is again harmonized in fourths. This is another great example of two parts that can be played by a single guitar. Use the pads of your fingers to play the double stops (two notes played simultaneously). The main riff returns at letter D and acts as a send-off for Winter’s synth solo at letter E. Gtr. 1 plays a funky rhythm part underneath the solo that goes between G minor and C9 chord fragments. In the second measure of E there is a double stop bend. Use two fingers for this bend in order to get the strength needed. At letter F the synth plays a funky bassline that leads into the saxophone melody at letter G.

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THREE PART HARMONY
The saxophone enters at G with a line that is harmonized with Gtr. 1 and Gtr. 5. If you are the only guitarist in the band, play the saxophone (Gtr. 4) part during this section. In the fifth measure of G, Gtr. 1 plays Fig. 1, which is fingered similarly to Gtrs. 4 and 5 written in divisi in the staff above. Here divisi is employed to fit all of the parts onto the page.

Don’t even think of trying to play them as a combined part. Begin this phrase with your first finger on B♭ and then follow the position shifts in the example. In the third measure of Fig. 1 Gtr. 1 plays a slinky lick that combines slides and fretted notes and ends with a whole step bend at the 15th fret. At letter I, Gtr. 6 (the upper part) plays a series of double stops on the top three strings. Barre your index finger over the strings at the second fret and use your ring and pinky fingers for the inverted F5 chord. In the next measure, use just your pinky for the final B♭5 chord.

WAH-WAH ACTION
A series of oblique bends begin at letter J. This section outlines a G Dorian scale (G–A–B♭–C–D–E–F) and also uses a wah-wah pedal. The notation for the wah-wah consists of two symbols. The first (o) means to have the pedal open, or in a toe up position. Naturally, the other symbol (+) notates the closed or toe down position. Keep rocking the pedal in the rhythm shown throughout the section. Gtr. 6 plays a series of triads on the top three strings that are shown in Fig. 2.

The first two triads follow the walkup pattern that Gtr. 1 and Gtr. 5 started, but then breaks off to alternate between B♭ and C triads over a G bass note. After the drum solo at K, the synth enters at letter L. Note the time signature change from 4/4 to 12/8. The tempo still feels the same, but each dotted-quarter-note is divided into three beats. Gtr. 1 plays a short riff that goes into a sustaining G note at letter M. Here the synth takes over for some sounds that seem to come from outer space.

Listen for the drummer’s hi-hat after the measure of 7/8 to keep your place before the six measure drum solo leading back into the main riff at letter N. The main riff comes in strong and gives the audience something to connect with after the all-out synth and drum extravaganza. The closing riff is played in the lower octave (similar to Gtr. 1 at letter B) and is pretty straightforward with the exception of the measure of 9/8.

The band holds on a B♭5 chord and and then goes up to a C5 chord before Gtr. 1 plays some sliding double stops on the top two strings.

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

• Download more Edgar Winter Group tabs, lessons and videos at guitarinstructor.com

• Get Edgar Winter DVDs and songbooks at musicdispatch.com

• Download “Frankenstein” at iTunes

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