FLOR D’LUNA by Tom Coster TT RESELL e ca? CHS oP ma Fra) Enis WIE GG es ig Oia fa ERE OWE ae Jaa NG. Dm ATousd Sts Tee 2 ee ar Dm Dmimaj?) Om? Gens °e Sa coerer 16— t+ a © eS Bs ‘S © 1984 & 1999 Light Music, USA Rondor Music {London} Ltd, London SW6 4TW and copyright contro! 10 Flor D'Lunaav Dm — Dmimsi7)_ Dm? © = 8 wee 4s us se — G6 Dm? ar Dm pirat pet = = = f= ee ee Gm? cng ee Frais Frnai? 8 fe age Shee tO . + we 6, tee Fall Y pe ~ 3315-1 ATausé ar Om? Gm? fs reff © wa 015: 16 a. ps 4 a * 6p H——19315—18-18 13. « Flor D'Luna 14ar Dm Em7b5) A? Om mms) a7 Em7es) a7 Om Em7es) AE, Emmis) A? solo starts ———nnnen Exe Dm Ems) ATIE Om Emmis) Ar 8 o ; epee + et te ; é Pty 7018 © = = ° = Om Emtes) ATE Om 2 8 + ~~, tye > 2 a @ f FeF sf Fo tee fifty = E of jr * A 7 7 oN - + é é os 10 q — Boa 12-10. 7% er 12 [8 = f = 12. Flor D'LunaATTN Em7es) ar Dm Em7es) Bre a A pe 0 EF 1-085: 1012-12-10 12 2-10 12 1202} 10-12-12 10-12 a0 [ee HB — Dm Ent) AT Om Enos ” -- - co @ ny. ee at ba POR Ep eR 3 eas 6 pep ie eRe ° Fell | Fall Full Pull) Full Fall 3 7 Z 2 fF 2 SN Fall, — Jp ti Op ts or E Tow 5 = Ex. 4 Dm Em7s) ANE @ o 191210 9 FP ao 2 101919 1210 Ems) ar phepe a os Set pe SS e 7 ABAB AL AOI AD AS-TD- TO 1912191019 OY 112-15 1517 8 = Om Enve) AVE ents ow pot ?—1— 0s loco se w)y2~12-12— 15 — 10 20-18-17: s7-18-117 2, Flor D'Luna 13Dm Em) AVE 13-18-12 Y0°19-19°19 12 10-19-4919 12 1019-19-19 12 10 IDA 19 12 10-19-12 19 12 10-19-13 12 10-13-19 12 10-13-19 12 1 [Base 2— 10 312 716 + Gn? crs o Frais ee ff | ap. Fmai? ATsus4 ar Dm? 2a 1615 1a us. Gm? ons ce Fmaio Foi? Fob Ful ee ¥ 13-1919 15 — 19-15-19 wae ag. 14 Flor D'LunaATsusé aT Dm Dme 1 4— (19). 45, e156 — 15-18 Gms C/G Gm7 Dm7 AT @ oa Se: et “ a . aa ean . fp pet pgp cp tee tee é fleet Ce : — Pee rere 7 rm He 6 15: 14- 15: 3s—n-| 34 PRG Ro en Em768) ATE Dm Emmis) ATE Dm ap = A 5 aS 3 Ba MS Flor D'Luna 15The Solo Flor D’ Luna Whar a great way to announce the start of your solo! A machine-gun burse of fast picking in the 10th fret D minor pentatonic position contrasts dramatically with the sparse and measured melody that goes before is. This clearly announces the start of the solo to che listener, even though the backing continues pretty much as before. After this dynamic opening phrase Carlos eases back on che throctle, and allows the solo to settle into a more laid back feel Ex1 Sancana’s solos all have a feeling of progression to chem, a sense of increasing tension. Just one of the many techniques he employs to create this effect is a repeated and syncopated string bend. Let’s take a look at one. 16 Flor DY LunaEx2 “This example is taken from early in the solo, so the bend is in a fairly low register and he’s bending only half a tone, but you definitely get the feeling of momentum building up, For this phrase you should be in the 40th position, so your first finger is on the 10th fret. The string bends should be played with the third finger and, as with any bends, supporced by the first and second, Emirs) cote de, 2 SSeS eS SS Here’s another use of repetition. Note the vibrato on the G note. Santana uses very little vibrato and when he does it’s subtle and used to good effect. In the second bar is a bluesy descending run. Unusually, che Ab on beat three is played Flor D’ Luna (7on the B string. Most players would play this on che G string but not Carlos ~ he uses a first finger slide to slip that chromatic passing note in. In bars 61-63 we see further use of syncopated string bends, this time full bends that lead up to the high point of the solo where we see a great example of Carlos’ nimble finger work. The first position shift here is played with the third finger. Then, during the rest, move back zo the 10th fret position for the triplet pull-off phrase. Ex4 Emres) This is the hardest pare of the solo so it may need some work. Use your third finger for the F and second for the E, wich your first finger covering the 10th fret. The sheer number of notes can be daunting but it’s far simpler than it looks. What we have here is a repeating pattern played in a cross chythm. If you learn che first four notes of this bar you've got the whole thing. Play through the phrase slowly and 18 Flor D’ Lunalearn which notes land on the strong bears, shen gradually speed it up. The soaring high register melody starting in bar 69 is immediately followed by a another fast legato phrase. Treat this one in the same way as the previous one. The solo ends with an ascending octave phrase. } The sound for this lick is cleaner, almost jazzy, and was probably played by using the neck pickup and by stcumming the strings with the thumb. Use your first and third fingers to play che octave shape. The whole phrase is | on the same pair of strings, so to make life easier concentrate on just the bottom note, and the cop one will follow along. Flor D’ Lung 19