Spring awakening guitar score pdf

The original play was banned in Germany due to its portrayal of masturbation, abortion, rape and suicide. In the musical, alt-rock is employed as part of the folk-infused rock score. During the musical, characters sometimes break the fourth wall to express their motivations and desires directly to the audience. After a number of workshops, concerts and rewrites over a seven-year period, Spring Awakening premiered Off-Broadway at the Atlantic Theatre Company on May 19, and ran through August 17, Spring Awakening received eleven Tony Award nominations, winning eight, including Tonys for best musical, direction, book, score and featured actor.

The production is directed by Michael Mayer and choreographed by Bill T. You can share this sheet on your Twitter or Facebook account to let your friends know too!

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Left Behind. And Then There Were None. General Notes on the Guitar 1 Book The Guitar 1 book is a pretty accurate transcription of what you hear on the Broadway cast recording, although there are some exceptions, as I explain below.

When preparing to play this show I read the book while listening to the cast recording a few times to help pick up the feel of the piece. The book has a lot of fretboard diagrams throughout, which is very helpful, given the very specific chord voicings called for combined with extensive use of capos. A lovely, lyrical part, which manages to feel yearning, wistful and almost elegiac— all at the same time. The audience will hear every bum note you play!

The finger-picked part in m. I transcribed something very close to the recording and played that. I believe there is an error in beats 3 and 4 of m. It seems a little odd to get straight into reprises so early in the show, but this high energy version of the song provides a great lift to the show after the subdued, emotive opening number.

The part as written has the acoustic guitar playing arpeggios for the opening verse, followed by a strummed middle section then back to arpeggios for the remainder. The Broadway music director obviously thought so too, as the recorded version has a much more satisfying strummed part throughout.

I transcribed a similar part and used that. A straightforward strummed part. The first outing for the electric guitar is a real treat. Spiky, jagged rhythms, unusual chord voicings and a great, almost staccato groove.

The Broadway recording uses doubled electric guitars to get a fuller sound. I also used a Telecaster with bright-sounding wide range humbuckers just for this song. Guitar 2 plays acoustic throughout. If Guitar 2 is absent, Guitar 1 should play the arpeggios from the Guitar 2 part for m. This song is scored with both Guitar 1 and 2 playing electric, which sounded messy and cluttered when I tried it.

I switched Guitar 1 to acoustic again as per the Broadway recording , which worked much better, and given the choice between electric or acoustic I recommend acoustic. The Guitar 2 electric part is not well transcribed. The arpeggios in the verses are should be an octave higher and are voiced more satisfyingly on the recording.

I re-transcribed the part. Use a Harmonizer and Delay for the verses. Set the Harmonizer to 1 octave above the note played, with the signal balance set so that only the high effected note is heard. Set delay at about ms, with regeneration set for about 3 repeats, and the mix so that the delayed signal is fairly quiet. Use a light, warm distortion or overdrive for the choruses. If there is no Guitar 2, keyboard needs to cover the Guitar 2 arpeggios in both verses see notes on this subject above.

I transcribed the part from the Broadway recording and used that. I transcribed this for future reference. An atmospheric number, led by a harpsichord keyboard pre-recorded track, so strict tempo is key.

The guitar is there for atmosphere and texture. I used the neck pickup on my ES for this, with some compression and a ms delay. I played the part exactly as written, but with volume swells on every note to remove the attack of the pick throughout. The swells were fairly rapid for the single note melodies in the verses, and slower for the chords in the choruses.

This is a straightforward rock number, alternating muted strumming in the verses with glassy, distorted full chords in the choruses. The music is tense and uneasy, the lyrics unsettling. The only tricky part of this one is catching the cues from dialogue to singing, which depend on the speed at which the actor delivers the lines.

The whole band has to focus on and follow the conductor to avoid missing a cue or moving on too soon!