Boy, this is fun.
Money For Nothing riff is
another example of this kind of duality
like in the Walk Of Life riff, when on
the one hand you have this complex
fingerpicking going, but on the other hand,
not only this riff works as an intro, it also is
a part of the verse, the chorus and
the outro as well, it goes through the whole
song all the way form beginning to end,
which means it's meant to be played while singing.
Playing and singing at the same time is a pretty
demanding task, especially when you have to
play it live not for a crowd of a thousand,
but sometimes for a crowd of a billion
(I'm talking about LiveAid).
More on singing later.
So unless what's you're playing has a strict and
simple pattern it's too easy to mess it up.
And Money For Nothing riff has a simple
pattern, which Mark describes in his
A Life In Songs documentary, let's watch.
So what he's saying is that the basic pattern of
the song is his signature
thumb, upstroke, downstroke and upstroke
move on two strings.
It's just four steps,
looks easy enough, right?
The interesting part is
when he talks about blocking strings.
The riff is a call and response melody in 8 bars,
as in Why Aye Man and What It Is, both of which
is also an 8 bars call and response riffs.
You should be able to sing it and to play it
as a single note line at any given time.
And it starts on an off-beat, which can be
tricky right away.
It starts with blocked strings,
strings 4 and 3.
Remember this pattern?
It starts with
the 2 last moves.
With the thumb hitting the first beat.
It can be slide, muted strings, muted and
open strings, open strings, or it can be just a rest.
Now the riff itself.
First two notes is thumb, index and middle on
two strings and then a downstroke.
This is crucial, because so many people mess
this part up by playing like this…
Then an upstroke, hammer-on to the 7th fret with
the thumb at the same time.
To an upstroke.
Then optional thumb and index fingers on the
4th string, downstroke, upstroke, thumb.
Slide to the 3rd position, upstroke, mute.
Now it's an upstroke and mute with the
thumb on two strings.
This thumb stroke is a very
strong one, almost like a downstroke.
The end of the call is more straightforward,
it's open strings upstroke, then another upstroke
and mute on the downstroke, to the muted upstroke.
All still in the 3rd position.
Now in the 1st position
it's a Bb power chord and the thumb, mute,
to C power chord.
To downstroke and upstroke.
See, the original pattern is all over the place,
so Mark is definitely right about that.
The response starts the same, on an off-beat,
only going down to this Bb here, with an upstroke
and thumb, then upstroke again, and a hammer-on.
To another upstroke.
It's three upstrokes in a row.
By the way, fingering in a typical Mark's fashion
is a very wide one, using 1st and 2nd fingers
on 5th and 7th frets here, adding the 4th finger
up on the 8th fret.
Reminds me of a double bass
where they play by ignoring the ring finger because
of the hugeness of the neck.
In Mark's case it's also
the hugeness of the neck.
But I like this fingering anyway.
Also, in the beginning of the riff it's these
two fingers and a pretty compact shape.
So we're going up in terms of the difficulty.
The riff continues with a thumb here.
Upstroke, pull-off, upstroke.
Then
downstroke, upstroke and thumb.
So it's 5 upstrokes in a row, I just realised that.
The ending is like before.
These power chords also
stays rhythmically the same, only
the root changes to F and G.
This is a lot of information.
Let's recap and play it as
slow as a human being can possibly play this riff.
Before I tackle the rest of the song,
I'd like to point out that all these harmonics
is purely an accidental stuff and you may like
it or not, but it just happens, I don't think they
were planned out and just happened in the studio
at the moment.
Oh, and this part, too.
Who knows what they did.
The verse is difficult to describe, because here
the original pattern is king.
It's just a bunch of
open strings, power chords and mutes all thrown
under the wheels of this pattern.
The song goes…
On the second part of the verse here goes
the riff in all of its glory.
And this is so difficult
to play and sing at the same time.
When you know the riff inside out, don't try to sing
yet, but very slowly check all the key words and
corresponding beats.
See, "that's" falls on this note.
"On" falls on this note,
"little" falls on that one and so on.
The microwave ovens part is Eb power chord,
going to Bb power chord, to Eb power chord again,
now the F one.
And here it's the second part of the riff.
Also very hard to sing.
To C, D and E power chords.
To add even more power, here's an old trick
of Mark's—add a thumb over.
Here's the main
part of the song completely again, guitar only.
Soloing-wise the song is very pleasing for
jamming along because it's 99% G Minor pentatonic
and it's a very "guitaristic" key.
Occasionally there's
this distinct E from the C Major chord and it's pretty
much the only thing that can change.
But let me tell you, this is fun.
From 33 songs I learned so far
in terms of fun this one takes the cake.
So the next time you'll watch Mark playing
Money For Nothing, just appreciate the amount
of work he put in each performance.
With songs like that you can't just go and play
it with 50-50 chance, it's hard work, and it's only
playing the song, imagine writing something like that.
This is working.
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