CL ASSIC

T R AC K

PINK FLOYD
66
COMFORTABLY
NUMB
You want great tone? Gilmour delivers in
spades with effortless bends and
haunting melodies on this Pink Floyd
masterpiece from The Wall
Photo Getty Guitars and backing Steve Allsworth

TOTAL GUITAR SEPTEMBER 2023

 CL ASSIC
T R AC K
ink Floyd guitarist
David Gilmour is
revered as one of
SOUND ADVICE
urfnġv#Ľqhvw#sod|huv1#
Zkhq#prvw#shrsoh# Everything you need to know before playing ‘Comfortably Numb’
wklqn#ri#d#sod|hu#zlwk#
or the solos, David used the bridge pickup
wdvwh/#srlvh/#lpphqvh#skudvlqj#
dqg#vlon|#ri#wrqhv/#ihz#qdphv#
zloo#furs#xs#dv#uhjxoduo|#dv#klv1
Get the tone
5 5
CHANNEL OVERDRIVE
5
F of his maple-necked Fender Strat with an
Electro Harmonix Big Muff pedal driving
a Hiwatt DR103 amp and a quietly-mixed Leslie
6 for added depth. Delay was set to about
Comfortably Numb#ihdwxuhv#wzr#
480ms with four or five repeats. You’ll find
hslf#vrorv#wkdw#ghĽqh#pdq|#ri#wkh# 8
Big Muff and Leslie effects in many multi-fx
wudlwv#zlwk#zklfk#Jloprxu#lv# pedals and digital modelers. Try Marshall Plexi
associated: three-fret string or Fender Twin amp models in the absence of
GAIN BASS MID TREBLE REVERB
ehqgv/#zkdpp|0edu#yleudwr/# a Hiwatt preset. The delay for verse 1 should
phprudeoh#phorglhv/#h{suhvvlyh# be set to a dotted eighth note repeat at
about 705ms.
shqwdwrqlf#skudvlqj#dqg#pruh1#
Lwġv#lqfuhgleoh#krz#pxfk#plohdjh#
kh#jhwv#rxw#ri#vrorv#wkdw#zloo#riwhq#
rqo|#xvh#d#frxsoh#ri#vfdoh#vkdshv1#
Qrwlfh#krz#pdq|#ri#klv#lghdv#duh# A bridge-position
single-coil pickup is
easy to remember and easy to
a vital part of David
vlqj/#zlwk#d#ghĽqdeoh#vkdsh# Gilmour’s guitar
dqg#mrxuqh|>#vrphwklqj#zruwk# sound for this track
frqvlghulqj#zkhq#hpedunlqj# and many others.
rq#|rxu#rzq#orqjhu#vrorv1

CHORDS SCALES
T T
kh#dfrxvwlf#jxlwdu#sduwv#duh#wxqhg#wr#Gdylgġv#wdnh#rq#Qdvkylooh#wxqlqj1#Wkh#vl{wk# he song is mainly in B minor (B C# D E F# G
vwulqj#lv#wzr#rfwdyhv#kljkhu#wkdq#vwdqgdug>#wkh#wklug/#irxuwk#dqg#Ľiwk#vwulqjv#duh# D,/#exw#wkh#euljkwhu#Ľuvw#vror#dqg#fkruxvhv# 67
rqh#rfwdyh#xs>#dqg#wkh#Ľuvw#dqg#vhfrqg#vwulqjv#duh#vwdqgdug#wxqhg1#Lwġv#vwloo# duh#lq#G#pdmru#+G#H#I&#J#D#E#F&,1#Wkh#wzr#
vwdqgdug#wxqlqj#+HDGJEH,/#mxvw#lq#glļhuhqw#rfwdyhv/#vr#lwġv#Ľqh#wr#xvh#d#vwdqgdug# keys share the same notes so you’ll be dealing
wxqhg#jxlwdu#wr#vdyh#wkh#kdvvoh#ri#uh0vwulqjlqj#|rxu#d{h1# zlwk#wkh#vdph#srro#ri#qrwhv/#mxvw#zlwk#glļhuhqw#
vwduwlqj#qrwhv#+DND#urrw#qrwhv,1#Lq#wkh#rxwur#vror#
X X 0 O X O O O 0 O O O X X O Gdylg#xvhv#d#kdqg|#E#plqru#shqwdwrqlf#vkdsh#
wkdw#vsdqv#vl{#iuhwv#xvlqj#rqo|#wkh#Ľuvw#dqg#wklug#
Ľqjhuv1#Lwġv#juhdw#iru#eolw}lqj#wkurxjk#wzr#ru#
1 1 2 3 4 2 3 1 2
wkuhh#vkdshv#ri#wkh#vdph#vfdoh1
2 3 4 3
3 4
11
1 1 1 1 1
9

Bm A G Em D 2 2 1 1 2 2 2 2

X O X O O X 0 O O X X O X X X X X X 3 3
1 4 4 3 3 4 4 4 4 4 4
2 2 3 1 1
4 4
3 4 2 3 4
D major scale D major scale
3

1 1 1 1 1 1 1
C G5 Asus2 D5 B5 7 7

X 0 X X X X X X X 0 X X X X
2

3 3 3 3 3
2 1 1 1
4 4 4 4 1
3
3 3
4
B blues scale
A5 D/F# E5 B minor
pentatonic scale

SEPTEMBER 2023 TOTAL GUITAR

 CL ASSIC
T R AC K

PINK FLOYD FULL

Words and Music by Roger Waters and David Gilmour
Copyright © 1979 Roger Waters Music Overseas Ltd. and Pink Floyd Music Publishers Ltd.
All Rights for Roger Waters Music Overseas Ltd. Administered by BMG Rights Management (US) LLC
COMFORTABLY NUMB

COMFORTABLY NUMB
All Rights for Pink Floyd Music Publishers Ltd.

TAB Administered by Concord Copyrights c/o Concord Music Publishing LLC

All Rights Reserved Used by Permission
Reproduced by Permission of Hal Leonard Europe Ltd.

PINK FLOYD COMFORTABLY NUMB Intro / verse 1 bit.ly/tg375audio

q = 64

# 4 œ
Bm
œ
A
œ œ
G Em Bm
œ
& #4 Ó ‰ . # œœ œœ # œœ n œ Œ .. ..
Play 3 times
Œ Œ Ó Œ Ó Œ Ó Œ Ó
R
w/slide
w/delay (dotted 8th note)

T 4 [4] 6 7 . 12 14 12 12 .
A
B
4 [4] 6 7
. .

Using a slide and setting up a panning ‘ping pong’ style delay should get you close to the sound here. Wear your slide on your third or fourth finger and keep your first and
second fingers in contact with the strings for a more noise-free sound. Pick with fingers or thumb for better control of tone and volume.

PINK FLOYD COMFORTABLY NUMB Pre-chorus / chorus (acoustic guitar) bit.ly/tg375audio

r
D A
68
# ‰ ≈ ggg œ .. œœœ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # 44 g
gœ
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0:52
3:16
> >
ggg 23 . 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T
A gg 20 .
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
3
2
0
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1

D A

# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
& # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> >
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
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2
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2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3

C G5

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # nn œœœœ œœœœ œœœœ œœ
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> >
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
T 1
0
1
0
1
0
1
0
1
0
1
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1
0
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0
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3
0
3
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0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
5

TOTAL GUITAR SEPTEMBER 2023

 FULL TRACK + BACKING (BIT.LY/TG375AUDIO)
This song comes with a full demo track and backing track.
Enter the above link into your web browser of choice;
press play and jam along, guitaraoke style!
PINK FLOYD / COMFORTABLY NUMB

PINK FLOYD COMFORTABLY NUMB Pre-chorus / chorus (acoustic guitar, cont’d) bit.ly/tg375audio

1.
C G5

# œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .
& # nn œœœœ œœœœ œœ
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> >
T
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
3
1
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1
3
1
3
3
3
3
3
3
3
3
3
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3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 .
A
B
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
2
3
0
0
0
0
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0
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0
0
0
0
0
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3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
7

2.
G5 A

# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
> >
3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
9

C G D
†

# œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # n œœœ œœœ œœ œœ œœ œœ œœ œœ œœ
œœ
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nœ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T 1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
69
A 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
11 † repeat bar 12 in chorus 2

Look out for occasional accent marks (>) late in bars 2, 4, 6, 8 and 10. These tell you to emphasise the chords in question with a louder strum, providing a bit of movement to
an otherwise steady rhythm. If you’re playing this part on electric guitar don’t be afraid to add a bit of space – the constant 16th note rhythms can sound a tad heavy
without the ‘zing’ of the Nashville-tuned acoustic guitar that appears on the recording.

PINK FLOYD COMFORTABLY NUMB Solo 1 bit.ly/tg375audio

D A
~~~~~~~~~~~~~~~~~~~~~~
w/bar

~~~~~~~
¿ ¿ ˙ œ ¿ j œ œ œ j œ œ œ œ. œ. œ œ w/bar
# 4
œ œ ~~~~~~
R œ œ. œ
& #4 ‰ ≈
3
2:04
~~~~~~~~~~~~~~~~~~~~~~
w/bar
~~~~~~~ ~~~~~~
¿ ¿ ¿
w/bar
BU BD BU BD
14 14 (15) [15 ] (14)
T 15 (17) [17] (15) 15 14 14
14
A 14 [14] 12
B
1

D A C
~~~~~~~~~~~~~
¿¿œ œ œ
w/bar

~~~~~~~~~~~~~~ j œ œ œ œ œ
œ œ. œ. œ~~~~~œ œ œ
w/bar
œ Scoop

## ˙ ˙
w/bar

œ œ œ œ œ œ œ
&
3 3 3
~~~~~~~~~~~~~
3
~~~~~~~~~~~~~~ w/bar
~~~~~
¿¿
w/bar BU BD 3 w/bar
BU Scoop
14 (15) (14)
T 0 15 (17) 15 14
14 12 11 9 7 11 9
A 12 14 12 11 9 7
B
3

SEPTEMBER 2023 TOTAL GUITAR

 CL ASSIC
T R AC K
PINK FLOYD COMFORTABLY NUMB Solo 1 (cont’d) bit.ly/tg375audio

œ
¿ ¿¿ œ œ œ œ œ
G C G

# # œ~~~~~
. œ œ~~~~~~ ‰ œ œ œ œ œ œ. ≈ œ œ œ œ~~~~~~~~ ~~~~~~~~ ~~~
w/bar
w/bar w/bar w/bar w/bar
. nœ œ œ œ
œ œœ
& R
3 3

~~~~~ ~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~

¿ ¿ ¿ 15
w/bar w/bar w/bar w/bar w/bar
grad.
BU 14 12
T 9 7 7 9 7 7 9 11 11 [11] (12 )
15 12
12
A 9 12 10 9 9 10 9 7
B
6

A C G D
~~~~~~~~~~~~~
w/bar
~~~~~~~~~~~~~~~~~~
# # ~~
Scoop

œ. œ œ j œ œ j œ œ œ œ
& ˙ Œ ≈ J œ œ
œ
j œ œ ˙. œ
~~ Scoop
~~~~~~~~~~~~~
w/bar 3
~~~~~~~~~~~~~~~~~~
BU BD BU BD
T 12 12 9 (11) [11] ( 9 )(11) ( 9 ) 7
A 7 9 7 7 [7]
B
9

String bends, slides, legato and whammy bar phrasing all feature here in the first solo. With so much going on, start by disregarding these techniques and play through the
core of the melody – this will give you some insight into Gilmour’s note choice, in particular how he uses D and A major arpeggios among his more scale-oriented licks. David’s
triplet rhythms give these licks a sense of space in contrast with the constant 16th notes of the acoustic guitar.
70

PINK FLOYD COMFORTABLY NUMB Verse 2 bit.ly/tg375audio

Bm A Asus 2

# 4 œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
& # 4 .. œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2:46

T . 2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
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0
0
0
0
0
A
B
. 4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
1

G Em Bm

# œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ .
& # œœœ œœœ œœœ œœ
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œœ
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œœ
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œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
0
0
0
0
0
0
0
0
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0
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0
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3 .
A
B
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
4
4
2
.
3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0
3

The rhythm here is essentially the same as the chorus, but with those steady 16th notes outlining the Bm-A-G-Em chord progression. The real reason you should know
this section inside out is that it will help you see how Gilmour targets chord tones during the outro solo – which follows the same chord progression.

TOTAL GUITAR SEPTEMBER 2023

 PINK FLOYD / COMFORTABLY NUMB

PINK FLOYD COMFORTABLY NUMB Outro solo bit.ly/tg375audio

D
~~~~~~~~~~~~~~
B5
~~~~
A5
~~
# 4 ~~~ ˙ œ. œ œ œ œ œ œ
≈ — œ œœœœ œ œ œœœ œ ‰
1/4
j j
& #4 Ó Œ Œ
œ œ

3
4:24 PH
~~~ ~~~~~~~~~~~~~~ ~~~~ 1/4
~~
BU BU BD
T 7 9 9 (11) 9 (11) [11] (9) 7 7 9 9 7 7 11
10
11
10
A 9 9 9
B
1

G5 D/F # E5 B5
~~ œ œj œ œ œ œ œ œ œ
1/4

## œ œ. œ. œ n œ œ œ œ~~~~~~~~~~~~~~~~~~ œ #œ œ œ œ œ
3

& ‰ ‰ œ œ
6
~~ BU BD
1/4

10
~~~~~~~~~~~~~~~~~~
BU BD
T 12 12 (15 ) [15 ] (12) 10 12
7 9 9 (10) ( 9 ) 7
10 7
9
7
9 7
A 9
B
4

71

~~~~~~~~~~~~~~~~~~~~ ~~~~~ ~~~~~~A

5
~~~~~~~~~~~~~~~~~~~ œœ œ
## ˙ œ œ œ œ œ œ œ œ œ ≈ ≈
& œ œ. œ
~~~~~~~~~~~~~~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~~~~~~~~~~~ 7 9
T 7
7
A 9 7 7 9 9 7 9
B 9
6

#
œ œ œ œ œ œ œ~~~~~~~~~~œ
G5 D/F E 5 B5
œ
œ œ œ œ œ œ œ œœ œ œ œ œ
j
## œ œ œ œ œ
j
6
~~~~~~~~~
1/4

& œ œ nœ œ œ œ
3 6 œ
BU
9 (10 )
BD
[10 ] ( 9 ) 7 7
BU ~~~~~~~~~~ 7
3 ~~~~~~~~~
PB9
1/4
BU BD
T 10 10 (12 ) 10 7
9 9 (11)
7 10 7
9 (11) ( 9 ) 7 9 7
A 9 9 7
B 9 8 7 5
7
5
8

SEPTEMBER 2023 TOTAL GUITAR

 CL ASSIC
T R AC K
PINK FLOYD COMFORTABLY NUMB Outro solo (cont’d) bit.ly/tg375audio

# # œ. œ œ~~~~~~~œ œ
5
œ œ œ. œ œ œ
A
œ œ œ œ œ œ œ œ. œ
1/4
j
& ≈ ≈ œ
œ œ. œ. œ
. œ œœœ œ œ. j
œ

~~~~~~~ 7
PB9
1/4
BU BD
T 7 7 7 9 (11)
7 10 7
9 (11) ( 9 ) 7 9 7
A 9 9 7 7 7 7
B 9 7 5 7 5
7
5 7 7 9
10

D/F #
G5
œ œ œj œ œ ~~~~ œ œ œ œ œ œ œ œœœœœ œ œ
E 5 B5
## œ œ œœ
6 1/4

œœœ œ œ œ
j j 1/4
œ œ
& œ œ œ œ nœ œ œ œ
6 œ œ
7
~~~~ 7
PB9 3 1/4
BU 10 BU BU BD 1/4
T 7 7 9 (11)
7
9 (11)
7
7 9 0 9 (11)
7 10 7
9 (11)( 9 ) 7 9 7
7
7
A 9 7 9 9 9 7
B 9 8 7 5
7
5 0
12

A5
# # ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ œœ œœ ~~~~~~~~~~~~~~ œœ œœ œœ œœ œ
1/4 1/4 1/4

œ œ œ œ œ ≈ œ
j
œ œ œ
72 &
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1/4 ~~~~~~~~~~~~~~ 1/4 1/4
BU BD
T 7
7
7
7
7
7
7
7
7
7
7
7
7
7 9 (11) (9) 7
A 9 9 9 9
B
14

G5 D/F # E 5 B5
~~~~~~~~~ œ œ œ œj œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6

# # œ œ œj œ œ œ œ
j
6

& œ œ œ œ œ nœ œ œ
3 3 6 œ
~~~~~~~~~ 7
BU BD
7
PB9
6

BU BU BD
T 7 9 9 (11)
10 7 10 (12) [12 ] (7)
9 (11)
7 10 7
9 (11) ( 9 ) 7 9 7 7
A 9 9 7 9 7 7
B 9 9 8 7 5
7
16

# ~~~~~ œ ≈ ‰ œ ~~~~~~~~~~~
A5
~~~~~ œ œ . œœ
œ œ œ œ œœ ≈ œœ b œ œœ
1/4

& # œ œ œ œ œ ≈ nœ œ œ œ œ.

~~~~~ PM
BU BD ~~~~~~~~~~~ ~~~~~ 1/4

T 7
7
7
7
7
(8) (7)
(8) (7) 7 9 9 7
7
7 9 7
A 9 9 9 9 9 7 [7] 9 9 9
B
18

TOTAL GUITAR SEPTEMBER 2023

 PINK FLOYD / COMFORTABLY NUMB

PINK FLOYD COMFORTABLY NUMB Outro solo (cont’d) bit.ly/tg375audio

D/F #
G5
~~~~~ ~~~~~ E5 B5

## œ œ œ ¿ œ ¿ œ ¿¿ ¿¿ œœ œœ œ œ œœ œ
1/4 1/4 1/4

œœœ
& œ œ. ≈ œ œœœ œ œœœ œ ≈ œ ¿ œ ¿ œ œ œ œ œJ ≈ R
~~~~~ ~~~~~
¿¿ ¿¿ [ 7 ] ¿¿ ¿¿
1/4 1/4 1/4
7 17
T 7
7
7
7 9 7 9
7
7
7
7 [7]
7
7
7
7
7
7
7
7
7
7
A 7 9 9 7 7 9 7 9
B 9 9
20

œ~~~~~~ œj œ œ. œ
A5

## œ
j œ~~~~~ œ~~~~~ 3
œ œ œ
j œ œ œ œ œ
j œ œ œ œ œ. œ ¿ ¿ œ œ
& ‰
3
BU ~~~~~(19~~~~~
17 (19 ) )
RP

19
BU
21 21 (22)
~~~~~~ BU
21 (22)
RP
(22) 21
PB21

(22)
BD
(21)
PB21

(22)
BU BD
21 (22)(21) 19 21 19 19 ¿ ¿
T 17 17
A
B
22

G5 D/F # E5 B5 ~~~~~~~~~~~~~
## j œ~~~~~~~ œj œ œœœ œ
~~~~~~~~~~~
œ œ
1/4
œ œ nœ œ œ
œ œ œ œ œ. œ. #œ
j
œ œ œ.
&
œ
œ
73
BU ~~~~~~~ BU BD ~~~~~~~~~~~ 1/4
BU BD ~~~~~~~~~~~~~
T 17 (19 ) 17 (19) [19 ](17) 15
16
17 15 17 17 (18 ) (17) 15
16 16 16 14 16
A 16 14 12
B 14
24

~~~~~~~~~ œ . œ œ œ. œ œ œ œ œ
A5

¿ œ œ œ œ œ œj
scoop

## œ ~~~~~
j 6

≈
œ
œ œœœ œ œ
& œ œ œ nœ œ œ ¿ ¿ ¿
~~~~~~~~~ PB17
~~~~~
¿
scoop BU BD
BD
T 15 17 (19)(17) 15 17 12 (15 ) [15 ] (12) 12 10

¿ ¿ ¿
16 16 16 16 12 11 0 9 7 7
A 9 9 7
B 9 8 7 5
26

G5 D/F # E5 B5

# œ ¿ ¿¿¿ œ .. œ œ œ œ œ œj œ œ U~~~~~~~~~~~~~~
œ œœ œ œœ œœ œ œœ œ ¿¿ ¿¿ ¿¿ ¿¿ œœ œ œ œœ . œœ ≈ œœR ® Rœœ ® ¿ ¿
1/4 1/4 1/4 1/4 1/4

& # œ œ w
PM
1/4
PM
1/4
PM PM
1/4 1/4
PM
¿¿ ¿¿ ¿¿ ¿¿ 1/4 ~~~~~~~~~~~~~~
¿ ¿¿¿
7 7 7 7
T [7 ] 7 BU
¿ ¿
7 7 7 7 7 7 7 7 7 10
7 7 7 [7 ] 7 7 7 7 7 7 (11) 9 9
A 9 9 9 9 9 9 9 9
B
28

This solo is delivered with a more aggressive bluesy style. If you choose to improvise, it’s worth looking at some of David’s trademark ideas that he uses to pace the solo.
The sextuplet lick in bar 9 is a short idea that Gilmour returns to. At bar 22 he climbs up to the 19th position to begin the climax to the solo, having hovered around the 7th
fret until then. This is a great way to break up a solo into distinct areas, rather than simply noodling up and down the neck.

SEPTEMBER 2023 TOTAL GUITAR

 LEARN
TO PL AY

OPEN-MIC SONGBOOK
THE KILLERS
MR. BRIGHTSIDE
Always wanted this tune in your set but
were worried about tackling that intro
riff? Then read on, we’ve even included
a work around for that, too!

I
t hardly seems possible that this ri#lqľxhqfhv=#iurp#Mrkqq|#Pduu#wr#
song could be 20 years old, but Dqjxv#\rxqj1#Wkh#lqwur2yhuvh#ulļ#
Mr. Brightside was The Killers’ uhtxluhv#vrph#ghiw#Ľqjhulqj/#vr#
debut single back in 2003. One of if you’re not blessed with long
wkh#Ľuvw#vrqjv#wr#hphujh#iurp# Ľqjhuv#olnh#Nhxqlqj#wkhq#fkhfn#
wkh#ľhgjolqj#zulwlqj#sduwqhuvkls# out the alternative chord shapes
of Brandon Flowers (lead vocals, we’ve provided.
keyboards) and Dave Keuning (lead Using our suggested chord
74 guitar/vocals), it catapulted the Las vkdshv#|rxġoo#Ľqg#wkdw#lwġv#hdv|#
Vegas rockers to instant fame, quickly wr#sxoo#rļ#d#yhu|#frqylqflqj#
achieving worldwide multi-platinum accompaniment. Note that The
status and featuring on their debut Killers recorded this song with the
album Hot Fuss upon its release guitars tuned down a semitone to
the following year. Eb, but we’ve kept our audio track
Dave Keuning’s distinctive guitar in standard tuning to save you
style is due in part to his wide range the hassle.

X O X O X O X X O O X X O

CHORDS 1

I
15 15 15

i#|rxġuh#Ľqglqj#wkh#ulļ# 1 1 1 2 1 1

challenging, try strumming 2 3 3 3 2 2

the alternative chord shapes 3

shown here instead. These 4 4 4
are perfect for creating an Dadd9 Dadd9/C# Gmaj13 Dsus2 Dsus2/C#
(verse alternative) (verse alternative)
unplugged acoustic version, X O O X
X O X O X O O O X O
especially if you’re singing
and playing rhythm. Similarly,
1 1 1 1 2
the last three chords of the
chorus (A5, Asus4 and A) can 1 2 2 2 2 3 3

all be replaced with an open 3 4 3 4

A shape if you prefer to keep

things simple. Gmaj13 Bmadd11 Asus4 G5add6 D
(verse alternative)
O O X X O X X O X X O X
Guitars and backing Phil Capone Photo Getty

1 1 1 1 1 1 1 1 1 1
MR. BRIGHTSIDE
Words and Music by Brandon Flowers, Dave Keuning, Mark Stoermer and 2 3 4 2 2
Ronnie Vannucci
Copyright © 2004 UNIVERSAL MUSIC PUBLISHING LTD. 3 4
All Rights in the United States and Canada Controlled and Administered by
UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC. 4
All Rights Reserved Used by Permission
Reproduced by Permission of Hal Leonard Europe Ltd. G5add6 Bm A5 Asus4 A

TOTAL GUITAR SEPTEMBER 2023

 BACKING TRACK (bit.ly/tg375audio)
This song comes with a backing track. Enter the above
link into your web browser of choice; press play and jam
along, guitaraoke style!

SONGSHEET

Intro
Mr. Brightside
Dadd9 Dadd9/C# Gmaj13
Pre-chorus Interlude
/ Bmadd11
D G Bm A5 Asus4 A Asus4 x2
Chest now
Verse Asus4
Dadd9 Dadd9/C# He takes off her dress now
Coming out of my cage
G5add6
Repeat verse
Gmaj13 Let me go
And I’ve been doing just fine
Bmadd11
And I just can’t look
Repeat pre-chorus
Gotta, gotta be down, because I want it all
Asus4
Dadd9 Dadd9/C# It’s killing me
It started out with a kiss
G5add6
Repeat chorus
Gmaj13 And taking control
How did it end up like this?
Dadd9 Chorus Solo
It was only a kiss, it was only a kiss D G Bm A5 Asus4 A / x2
D G Bm
Dadd9/C# Jealousy, turning saints into the sea
Now I’m falling asleep
A5 Asus4 A Asus4 D
Gmaj13 Swimming through sick lullabies
Outro chorus
And she’s calling a cab D G Bm A5 Asus4 A Asus4
G Bm I neve - e - er
Choking on your alibis
While he’s having a smoke D G Bm A5 Asus4 A Asus4
A5 Asus4 A Asus4 D
Dadd9 I neve - e - er
But it’s just the price I pay
And she’s taking a drag D G Bm A5 Asus4 A Asus4
G Bm
Dadd9/C# I neve - e - er
Destiny is calling me
Now they’re going to bed D G Bm A5 Asus4 A
A5 Asus4 A Asus4 D G
Gmaj13 I neve - e - er
O - pen up my eager eyes 75
And my stomach is sick
Bm A Asus4 A Asus4
’Cause I’m Mr. Bright - side
And it’s all in my head, but she’s touching his...

THE KILLERS MR. BRIGHTSIDE Intro/verse bit.ly/tg375audio

q =150
Dadd 9/C #
Dadd 9
œ œ œ œ œ œ Gmaj 13
œ œ œ œ œ Play
œ
5 times

# 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
& # 4 .. œ œ œ .
let ring throughout

T . 0
17
0
17
0
17 15
0
17 .
A
B
. 17 16 19 16 19
16
16
16
19
16
19
16 16
19
16
19
16 16 16
19
16 .
15 15
≥ ≥ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≤ ≤ ≤
It’s important to cross-reference the fingerings shown in the chord boxouts for these unusual shapes. Alternate picking can be cumbersome at this tempo, so the
economy picking shown here is your best option. The important thing to remember is that you’ll need to grab that open first string with an upstroke – something that is
much easier when the preceding fourth string is played with a downstroke as illustrated.

THE KILLERS MR. BRIGHTSIDE Solo bit.ly/tg375audio

## 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
A5 Asus 4
œ œ œ œ œ œ œ
D G Bm A
œ
& 4 . œ œ œ œ œ œ œ ..
2:55 let ring throughout

T . 11 10 10 .
A
B
. 12 11 12 12 12 12
12
12 12
12
12
11
12
11
12
11
12
12
12
11
0
9
7
7
7
6
7
6
.
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ cont. sim.
Dave Keuning’s solo is based entirely on diads that mirror the underlying chords, rather than simply blasting pentatonic licks over them. Allow the notes to ring by keeping
your fingers in position even when fretting higher notes on the same string. Note the use of the open fourth string at the end of bar 3, facilitating the position shift down
the neck.

SEPTEMBER 2023 TOTAL GUITAR

 TAB GUIDE
Get more from TG by understanding our easy-to-follow musical terms and signs
What is tab?
Tab is short for tablature, a guitar, from the sixth (thick) down on the tab. Unfretted
notational system used to give vwulqj#dw#wkh#erwwrp#wr#wkh#Ľuvw# strings are shown with a ‘0’. The
detailed information as to where (thin) string at the top. On these key and time signatures are
notes should be played on the lines, numbers represent which shown in the notation. TG also
fretboard. Tab appears iuhwv#|rx#sodfh#|rxu#Ľqjhuv1#Iru# includes a timestamp to tell you
underneath conventional music example, an A note on the 2nd where in the original track you’ll
notation as six horizontal lines fret, third string, will be shown Ľqg#hdfk#h{dpsoh#dqg#whpsr#
that represent the strings of the as a number ‘2’ on the third line expressed in beats per minute.

FRET BOXES: CHORDS, SCALES AND CAPO NOTATION

HAND LABELLING NUT AND FRETBOARD CHORD EXAMPLE

2 m o o o o o o o o o
3 1 i a
4 c
1
T p
2 3
76

Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) This fretbox diagram represents the guitar’s fretboard exactly, as seen in the This diagram represents a G chord. The ‘o’s are open strings, and a circled number
Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger) photo. This design is used for ease of visualising a fretboard scale or chord quickly. is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).

CAPO EXAMPLE CAPO NOTATION SCALE EXAMPLE

CAPO 2ND
o o o x o o
FRET >
CAPO 2ND
FRET > 4 1 1 1 1
1
2 2 2 2
1 2
3 3
2 3 3
4 4 4 4 4

A major scale
A (G) D (C)
The blue line in the diagram represents a capo – for this A chord, place it at the Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the The fret box diagram illustrates the fret hand fingering for the A major scale using
2nd fret. Capos change the fret number ordering. Here, the original 5th fret pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab black dots for root notes and red dots for other scale tones. The photo shows part
now becomes the 3rd fret, 7th fret now 5th fret, etc. as if they were open strings. of the scale being played on the fourth string with the first, third and fourth fingers.

GUITAR TECHNIQUES: PICKING

DOWN AND UP-PICKING TREMOLO PICKING PALM MUTING PICK RAKE APPREGGIATED CHORD

The symbols under the tab tell you the Each of the four notes are to be Palm-mute by resting the edge of your Drag the pick across the strings shown Play the notes of the chord by
first note is to be down-picked and the alternate-picked (down and up-picked) picking hand palm on the strings near with a single sweep. This is often used strumming across the relevant strings
second note is to be up-picked. very rapidly and continuously. the bridge saddles. to augment a rake’s last note. in the direction of the arrow head.

TOTAL GUITAR SEPTEMBER 2023

 TAB GUIDE

FRETTING HAND
HAMMER-ON & NOTE TRILLS SLIDES (GLISSANDO) FRET-HAND TAPPING FRET-HAND MUTING
PULL-OFF

Pick the first note then hammer down on After picking the first note, rapidly Pick the first note and then slide to the Sound the notes marked with a square by X markings represent notes and strings
the string for the second note. Pick the alternate between the two notes shown in next. For the last two notes pick the first, hammering-on/tapping with your fret hand that are muted by your fret hand when
third note and pull-off for the fourth note. brackets using hammer-ons and pull-offs. slide to the next and then re-pick it (RP). fingers, instead of picking. struck by your picking hand.

BENDING AND VIBRATO

BEND AND RELEASE RE-PICKED BEND PRE-BEND QUARTER-TONE BEND VIBRATO

Fret the first note (here, the 5th fret) and Bend up to the pitch shown in the Silently bend the string up from the 5th Pick the note then bend up a quarter- Your fretting hand vibrates the string by
bend up to the pitch of the bracketed brackets, then re-pick the note while fret (PB5) to the pitch of the 7th fret note, tone (a very small amount). This is small bend-ups and releases. Exaggerate
note, before releasing again. holding the bent note at the pitch shown. pick it and release to the 5th fret note. sometimes referred to as a ‘blues curl’. this effect to create a ‘wide’ vibrato.

HARMONICS

NATURAL HARMONICS ARTIFICIAL PINCHED HARMONICS TAPPED HARMONICS TOUCHED HARMONICS

HARMONICS

77

Pick the note while lightly touching the Fret the note as shown, then lightly place After fretting the note in the triangle, Place your finger on the note as shown, A previously sounded note is touched
string directly over the fret indicated. your index finger directly over ‘x’ fret dig into the string with the side of your but sound it with a quick pick hand tap at above the fret marked TCH (eg, TCH 9)
A chiming harmonic results. (AH‘x’) and pick (with a pick, p or a). thumb as you sound it with the pick. the fret shown (TH17) for a harmonic. for it to sound a harmonic.

VIBRATO BAR / WHAMMY BAR

WHAMMY BAR BENDS SCOOP AND DOOP SUSTAINED NOTE GARGLE WHAMMY BAR VIBRATO
AND DIVEBOMB

The note is picked as shown, then the Scoop: depress the bar just before A Note is sustained then the vibrato Sound the note and ‘flick’ the vibrato bar Gently rock the whammy bar to
vibrato bar is raised and lowered to the striking the note and release. Doop: bar is depressed to slack. The square with your picking hand so it ‘quivers’. This repeatedly bend the pitch up and down.
pitches shown in brackets. lower the bar slightly after picking note. bracket indicates a further articulation. results in a ‘gargling’ sound! This sounds similar to fret hand vibrato.
OTHERS

PICK SCRAPE VIOLINING FINGER NUMBERING PIMA DIRECTIONS PICK HAND TAPPING

The edge of the pick is dragged either Turn the volume control down, sound The numbers in the traditional notation Any kind of fingerpicking requirements Tap (hammer-on) with a finger of your
down or up along the lower strings to the note(s) and then turn the volume up refer to the fingers required to play are shown at the bottom of the picking hand onto the fret marked with
produce a scraped sound. for a smooth fade in. each note. tab notation. a circle. Usually with ‘i’ or ‘m’.

SEPTEMBER 2023 TOTAL GUITAR