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[Guitar Book] John Scofield - Time on My Hands

[Guitar Book] John Scofield - Time on My Hands

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04/11/2014

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o n

john SCOFIELD

tim e

my

han d s

john SCOFIELD

t t m e

o n

my

han d s

Guitar Transcriptions by

KEN CHIPKIN

COPYRIGHT e 1991 CPP/BELWIN, INC.

15800 N.W. 48TH AVENUE, MIAMI, FLORIDA 33014

INTERNATIONAL COPYRIGHT SECURED MADE IN U.S.A. AI.,L RIGHTS RESERVED

ALBUM AKf: © 1990 CAPITOL RECORDS, INC.

EDITOR: AARON STANG PRODUCTION COORDINATOR: CAROL CUELLAR ALBUM COVER DESIGN: PATRICK ROQUES ALBUM PHOTOGRAPHY: CAROL FRIEDMAN

WARNING: ANY DUPLICATION, ADAPTATION OR ARRANGEMENT OF THE COMPOSITIONS CONTAINED IN THIS COLLECTION, WITHOUT THE WRITTEN CONSENT OF THE OWNER IS AN INFRINGEMENT OF U.S.

COPYRIGHT LAW AND SUBJECT TO THE PENALTIES AND LIABILITIES PROVIDED THEREIN.

INTRODUCTION

[' d like to thank Kenn Chipkin for his transcriptions of my work and his attention to detail. I think id noteworthy that the book includes the lead sheets to the tunes just as the other musicians received them ' at the recording session. If you listen to the record while checking out the lead sheets, you can see how the music is open to interpretation. Don t forget that these transcriptions are from spontaneous, loose improvisations. Youll need to pair them with the recording to hear the dialogue between the musicians. Those parts improvised by Charlie Haden, Jack DeJohnette and Joe Lovano aren t transcribed here, but id better that you listen to them as weU to understand the guitar solos!

One word about "TAB': .. I hope all young guitarists out there realize that written music is still the primary mode for communicating musical ideas between musicians. Having at least a basic understanding of written music is almost essential in jazz if you want to play with other people.

Time On My Hands was a great experience for me ... I hope this book helps all interested parties "get into"the music even more. Thanks for being among them!

ABOUT THE BOOK

Let it be known that without John Scofieldi contribution to the making of this book, it would simply not be on the level it is on. John made the time to meet with me at his home in New York City for the purpose of nailing down as much musical fact as possible in order to make this book as accurate as it could be. From this meeting came a video tape of Scofield patiently playing aU the written parts to the songs on Time On My Hands so we could assure perfection in the tablature and give me cues to work from during the transcribing process. Understandably, the solos would be too difficult and time consuming to reproduce for video, so the tablature should therefore be considered a suggested approach for positioning and fingering. This book is unique in that it includes lead sheets for the songs exactly the way Scofield wrote them, allowing us the opportunity to experience the evolution of this music. Once I had transcribed the music, John supervised the work and fielded a truckload of questions ranging from general to microscopic by way of telephone and fax while on tour in Europe. Saxophonist Joe Lovano was kind enough to edit and contribute phrase markings to the saxophone transcriptions as

, they appear in this book.

I hope that you enjoy and learn from this wonderful music.

Kenn Chipkin

CONTENTS

TRANSCRIPTIONS

72 BE HEAR Now

54 FARMACOLOGY 77 FAT LIP

31 FLOWER POWER

27 LET'S SAY WE DID

63 NOCTURNAL MISSION 16 SINCE You ASKED

20 So SUE ME

41 STRANGER To THE LIGHT 65 TIME AND TIDE

4 WABASH III

LEAD SHEETS

92 BE HEAR Now 90 FARMACOLOGY 93 FAT LIP

87 FLOWER POWER

86 LET'S SAY WE DID

89 NOCTURNAL MISSION 84 SINCE You ASKED

85 So SUE ME

88 STRANGER To THE LIGHT 91 TIME AND TIDE

83 WABASH III

4

WABASH III

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~

Composed by JOHN SCOFIELD

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Copyright to 1990 SCOW A Y MUSIC (BMI)

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WABASH III

wabash I I I is an unpredictable blues in E The head is a 32-bar form divided by the IAJ and IHl sections with the melody developing from IAJ to I A21. The IHl section contrasts with a slower moving melody where Scofield plays double stops, creating a third voice (the saxophone doubles the melody) that both harmonizes and serves as counterpoint to the melody. Another point of contrast in this section is the harmonic rhythm as it changes symmetrically every 2 bars:

IIBb7(IV)1 ·1. IC7(V)1 ·1. IDm7(vi)1 ·1. IC7(V)I·I. "

Scofield begins his three-chorus solo with a good deal of syncopation and rhythmic freedom. This begins the "slow burn" effect that builds up to driving consecutive eighth notes by the third chorus. Note his fluidity of phrase and articulation, joined by the logic and intent of his lines. Scofield! harmonic approach often defies the trappings of common guitar playing, avoiding riffs and preconceived fingerboard "shapes:' He manages to make musical statements that could be heard played on any instrument, while always reminding you with his intense subtlety and sense of humor; that the guitar is his instrument. John makes use ofa number of different "sounds" with a natural sense ofbalance. These sounds, or scales, include F mixolydian, F pentatonic major; F pentatonic minor; Bb mixolydian and C altered (C DbEbE F:I:I: Ab Bb ). Because of the common tones these scales share, and the fragmented way in which Scofield uses them (which is an inherent trait injazz improvisation), the ambiguity of any given situation can often times make it difficult or impossible to pin down in analysis. It can only benefit you to see these ambiguities in as many ways as possible.

Points Of Interest:

The first eight bars of the solo can be heard as a shifting of F pentatonic major and F pentatonic minor; something that Scofield often does over dominant chords. Clear cut examples of mixolydian over the I chord (F7) can befoundin bars 9-11 and 25-27 of this same chorus; and bars 25-27 of the 2nd chorus (the Ab is a passing tone here). Check out how he responds upon the change to the IV chord, integrating the solo throughout by rhythmically accentuating the third of the chord. Similar examples are prevalent

in response to the third of the V chord. Some of the more dissonant and complex lines in this solo make use of certain modes that have been augmented by Scofield! highly original use of chromaticism and should be studied and interpreted in your own way. Bars 5-7 (2nd chorus) appear to be C altered, resolving to the third of the I chord smack on the downbeat of bar 8. Bars 9-11 (2nd chorus) could be heard as F mixolydian with some chromaticism resolving to the third of the IV chord (D) in bar 12.

Bars 29 and 30 capture a sound that Scofield often uses over dominant chords. The tones, as they relate to the V7 chord, are respectively: q3, b3, q6, b7, :1:1: 11, (b7), b3, q3, b3, b9 and 1. Although the thrust of the sound here could be thought of as C symmetrical diminished, again it is difficult to pin down. Try thinking of it as tensions on a C7 chord that create a jagged linear shape where some notes resolve (to chord tones) and others do not. Iblloui measures 14-24 of the 3rd chorus and study Scofield! seamless chord connection ability. These measures have a high level of tension and release on two levels: rise and fall of line (contour), and harmonic movement (tension and resolution).

After the saxophone and bass solos, you will hear a highly complimentary dialogue between Scofield and Lovano.

SINCE YOU ASKED

This beautiful ballad begins with a "chord-melody" approach which has become a standard practice for Scofield when playing his ballads live. Everything about this tune; form (AABA), melody and chords, prove that there is beauty in simplicity.

One thing that all Scofields tunes have in common is strong chord movement. Whether the progression moves in root position chords or inversions, the strength and gravity of the changes in his music are always strongly felt, which of course builds a solid foundation for his natural sense of melody. The tonal center of the [d] section is the Cm7 chord. Scofield uses two distinctly different approaches to return to this chord in the openingfive bars. Gm7-A7bS-D7b9-G7 is variation on a i-VI-II-V progression. I say variation because the proper VI chord in C minor would be Ab. The function of the A7bS (qvr) chord is to bridge the movement from the i chord of the first bar to the ii- Vof the second bar. Notice the chain this movement initiates: A7_D7-G7-Cm7-Fm7-Bb7-etc. The second approach is equally strong, albeit less popular: Ebm7-Dm7-DbmaP. This may be viewed as simply a descending chromatic approach to Cm7 or as tritone substitutions for A7_D7-G7.

The second half of [d] is also a cycle of fourths progression with A 7 being the truone substitution for Eb: Theprogressionis:Cm7-Fm7-Bb7-Eb7(A7)Abmap DbmalfinallybrokenbyBb7sus4resolving

to Cm7. The B section is ever-modulating and is therefore more difficult to analyze. An important point though is that this section resolves to Cm7 the same way [d] does with the root motion of Bb (Bb7b9) to C (Cm7).

In Johns solo, you will hear an innate sense of melody that few musicians have. The phrases he plays throughout the solo are drawn from the chord changes, yet bear a very unbound character. This solo gives us a perfect example of Scofields elastic sense of time and his unpredictable rhythmic choices. I Melodically, Scofield uses chord tones and non-chord tones in a balanced and natural manner: [d] bar 2, themaj3 and bv of the D'bs chord; the :t+ 11 and bI3 of the Gt-alt chord, and in bar 4; theb3, bS and b 7 of the Dm7bS chord. Use this approach for the rest of this solo and any others that adhere to this "Z-chords-to-the-bar" type of situation and you will undoubtedly learn what makes John Scofield

so original.

16

SINCE YOU ASKED

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A .. " v v
- ... ft .. ft \V, ...
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V V " 3

APmaj7

mmaj7

B~7sus

em7

~

Band enters em7

A7(~5)

./1 I .J l~~ ,---, ~ ~J+-!- • ~ _3
~ -
.. ~ - ~ .. "II ~ hold -I __. J .. ,.,
1/2
~ - ft
T_ .. , ~,:. ..
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A \'" .. " " ~ ~ .. .. .. .. .. :!
... .. v v v .. .. v ..
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.. v D7(~9)

G7alt. hl--'

em7

E~m7

Dm7(~5)

mmaj7

~I I __...., " -11:. .,._ • ~ .,._~ ~....-. ~. ., ~ ~
.. 3 L3_j L-3__J .:1 L-3__J -...__:::; . ~I'" U ..
hold _ .... -3
".-....
T_ '! '! .. " " '<, ..
v . _v v .e-: v
A .. v '''' ..
- ... ..
'" v :'" em7

Fm7

B~7

A7

APmaj7

D~maj7

B~7sus

em7

.,/J I .,._ ~ ,. ! ~~ .. .,~--- _J_ ~r:.~ j., rTi ~.f'\.---., P
-.J ... 3 ..-!.- 3- L3J ~ ~., "II - ... ...::,;
hold __ .... - hold_ .... 1/2 ~ hold_
r-,
T A V IV V V ... .. . "f'"
! .. .. v v s v v'v .. \ .. , "\" , ~- V\"I" .. A
A ... i> .. , ... .. .. ... '" ... v .. ~ !
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g '" " .. .. ..
v .. V Since You Asked - 4 - 1

Copyright C 1990 SCOWAY MUSIC (BMI)

International Copyright Secured Made in U.SA All Rights Reserved

17

lID F7aIt.

B~ alt.

Bmaj7

017

Dmaj7

E7sus

"/, I -- 1:1. ~~ .. Ji,a. --.,a. ~ ~ .. 1:1.~ _.
~ -~ "II ~ r L-3.-l '---r-. ., -
-3
_____ - .... hold _ - __ -I hold ___ .... hold _______ .... hold __ -I
A A
T " ~ ! " " ~ A
! " ~ ~ A ~ !. ~ " "
jl =: t: ! .. v V .. ' .. , !.
'" \ !t v v v \VI
g " .. ..
v Fm7

.~

B~ sus B~ 7(~ 9) Cm7

A7(~5) 1/4

D7(l> 9)

G1alt.

"...-....

,/J I ~ .------ • - J,-3~ L. !I:. • .,a.
t ~ J 3 "'--J V 3 L-3.-1 L-3_j
1~4 .. J>--
T ft A V .I ~ . ~ .~ . "
! ft " V V p V V • .. _v
A .. v v :::
rl .. ~ ~ ~ ..
g "
• 2nd time w/o bass and drums Crn7

El>m7

Dm7(l>5)

Dl>rnaj7

Cm7

Frn7

'/, I • ~ .,a.~ ,~.,..-..._~-,.. • ~ t... "...-.... .. •
t .1 L.___3__j ~) 3 II. 3-
hold _ ..,
T ~ v u .. \ .. , ~ .. . '_ ..
! v .. " -" p v .. p- .. .. P ft U
A '''' v_.., ,v v v v "
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_g .. B~7

A7

B~7

2nd time to Coda C 7

rna] maj sus m
rtl I • ~ ~~.~~ J 1(1.~"""'_ t... (~~--- 1
.. L3_j :; - II. -,j I ,.. - ~
hold _ ~ 112 1/2
,ft .r' r-, I'
T ft IV '" '" ~ 'A' i.
! =: u , u .. .. \")" .. p p .. \") v.... ..
jl u v .. v .. ~ v ~ ..
_I"l v . " .. _v
g .. ..
.. " ~ Guitar solo Cm7

A7(~5)

D7(l> 9)

G1alt. ~

,_//I J Saxophone solo .~~ .,a. .,a. ~ ~
t Solo Form: 5 "I I J
~~IID~ 3
....--
T .. v '! ,~,
! '" "
A v ., ~ .. I\~) .. "
I"i ..
g Since You Asked- 4·2

18

Cm7

Ei>m7 ~

Dm7(i>S)

Cm7

Fm7

,/" I .. -., ~~ .".. .. ,....-, .,. .".. .,.:~.".. ~._ ~ ."..-;. .,. • _....
-
~ • L-3_J 3
,..-_ .....-......
T VI v-v V .. .. v v~v v v ..
VI V VI V " V ., V .. .
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WI ~ Bp7

A7

AI> maj7 Dp maj7

.~

B~7sus

em7

~>r;_ F~~· ,~~ ..
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.. V u , " .. v 01 Iv .~ ... IU
g - IV
• Bend and play note then immediately fade in w/vol. knob. oa A7(p 5) D7{p 9) G7alt.

em7 Epm7

~ ~~ ~ •. ~ b~
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-
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g ,. ',V ~ V Dm7(p 5) Dp maj7 Cm7 Fm7

Bp7 A7

~

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Al>7maj7

Dllmaj7

Bp7sus

Cm7

F7alt. .----... ..-

B~ 7alt.

q#_ rru #t..,. ~ ~a
."/,, I ,--=- ...... .,. .,. ~ ~--;-.. .......... ~~~:~~II::
.
tJ 3 '-3--' r
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A U' v VI - V V . - v .. ~ \ ':., .... ~.
-ft - - ...
g Bmaj7 loco

al7

Dmaj7

E7sus

Fm7

19 B~ sus B~ 7(~ 9)

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• ~ - L_3~ .~""'_'"
L3_J kold ___ -I
.... -
T v ., v, V A V A
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jl V ~ .. V .. ~ .. .. IA s; ":!
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, C 7

A7~5)

D7(~9)

G7alt

Cm7

E~ 7

m .-~ 1-. m
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-
tJ " _..,..- L-3_j L3.J J L__3__j .1

A 1""_ .. .. .. A~" .-
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A p >I .. ~ - U
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g Dm7(~5) ;;-'\

D~m~7 em7 Fm7

~-------------------------~

A7

"'/1 I ~~~~~~~ ../.,-.... oc;p~~ A
# .-... • ~ -- -.:_~!'- ._ ~ :"'\
-
-
• J 3 l__3__j J::'3_j {3L
1 ~
r-- r-- r-- ./
T 'v 'v 'v 'v 'v 'v 'v 'v , .. '01'01 'v ,'v 'v 'v 'v " .. ~ ~ p
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. Mmaj7

D~maj7

B~7sus

D.C. alCoda

'/11 . ~ ~ ----I I . .J~ 3
I __.., ~
tJ L.__3__j - ... grad. bend
hold __ ~ ,/12
.. .. ..
T .. .. v u .. : ;, .:- '_-
! p .. .. .. v p v .. ;! u .. p
A p .. v ~ ~ .. p v
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iii
v ~

Coda

rit .....

G7(~ 13) Cm6/9

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• • •
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hold __
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• '-" -3
----------------------------------1 Iwld _______________ -I
..
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! v U I ~ -'L " 1\"1 I~
A 1 ,I , ~ ~ ~ .'!. s;
ft \ ~I , I U U ~ ," ,. I 16
g 1 1 Freely

Since You Asked - 4 - 4

20

SO SUE ME

Medium Latin J = 176 Drum intro: ~!iS

Composed by JOHN SCOFIELD

_,III .. 8 A ~ ~ .----. ~ ,--3---,
• • !. • • L
.., l.__3---.J 'I 1
-
A A P P A A
T ~ ~ '" ~ ~ A ~ ~ A A - 01 II -r
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,
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r---.. • • L .. .. • • I. e=
.'
.; ~ .. ~ L_____ 3 ---.I
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! r , 'II -U- ~ v v
4 \'11) , V ~ OJ <iJ v
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g OJ <iJ OJ ..-:-3 ---, Sax:~4 Ti _h,,~ ., h Of ~J),-,~ •
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-
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! I .i, ;..-" ~ " .. 1\ '/ v
4 ''!' , v ~ - .. - ~ .. A U WI V V <iJ V v
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g
• Gtr. and sax continue in unison. To Codal-$-

,,/j,"'~ L .---.... /- --- r--,...._ ..--.. .- •
-
.. ~ '-'" ,.. 1 r

eft " -'"
T 'v <iJ ~
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" 'v' v •• - ., I''') u .. ., .. .. ., v
0" - iI ~ ., ~ ~ ~
g - ......
SoSueMe-6-1

Copyright IC 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

21

~1\Ji, ~ ~ ~ ~ ~~~ ~ .. ~j~~. tr " """" ... ,,'"
I~ .,...__

.
t • • ~ • - r- I
--- '!old-l.ft 1/2 hold i: - ____ --l
A A r-... Ir" " ""
T 0 0 V v 'V v
! ' , 0 v \'1) , -
D I\OJ " .. A . -,;,
w \~) \OJ .... V " 0> 0> "
- ... V
g
V V U 0 ,.,II, Ji, I • I ~ I ){ .-

to ,. '-" -- I -.- f' I r
hold _ .., hold _ -t
A
A ~ ,;, ::: u
_ A - .. " V A - ~ " -g ~ ~
- -Of- " V " V V 0> =z:
V To Coda 1I-$--$-

Guitar solo

~ ~

.,/; Ji, (2nd time) ... ~ ~ ~ ~f~~t-c~ ~-e~~: ~ ~ ~~ ..
.. ~ L
t ~ L___3__j l__3____J L3_j
A .. A _ I'"'. ",,""' _ _.-.._
T :! t: A .. 0 -~ , ~ ~ 'V -I IVy
~ 0> 0 0 /-, .ft ft V .. I .J
A ,.vJ ;> ;> 'W h'
-", ~ JV \lUf , .. ._
g " 1/4.

~

1/4.

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t r 1 I r -
1/4. 1{4.
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ft , .. .A ... , ... '" '" 'v ''''
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- - "/1 ~n~ ~ ~ ~~ " ~~:C"~ «>, ~ ~ ~e: ~
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t
_,..-..... If4. lR. (both notes vib.)
,- -.. ..--
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1/4.

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-

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-",
g SoSueMe-6-2

22

-- f:.i. t!_f ~ f: ~ f: ~ ~ f:. L~~E~.~ ~
,../, '""~
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-- ~A ----"" ...-...
T ,., IV I. '" IV I. IV '''' -'" I. lA LA _..:_ ~ V ~ IV
! \.'''} '" IV IV ., 'v IV ., IV V -
4
Pi
g ,,/~ f: ~~. ~ #fr 1t~. -::. q~ ~ ~ ~_1L) _.,..._ /~ .f$ li-it) f:.. -~~:--

tr ................. " • tr .. • tr ; ..... " .. ..
tr • -- _ft.~'A .rz: ~, --....
'A A ,_, A A ...fp\. ..... JLI!i.
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4
Pi
g tr

tr ..

~

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• - ---.. ,.
tr .............. .._____tr-
~, fA A '/.\
T VII V \"1 / V i,VI I V '9 ,~, A A
! V V IV 'A
4 IV
-ft " .w '! ~ _"
g --- 'v ,..//\ .~~ A .. - ... ~ - _I .-.
~
.., 1___3---.l L_~---J <:» '-" ~
1/2
./ ---->A\ --
T v v ~ ""I ~
! v V " A P .. " '9
4 V-~ .. _.._ .A • .. . ~'J . •
Pi " .. '9 ~ .. •
g - - - •

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,_.. ._ ._ _._ _._ _._ _._ .. ._ .
.. - ~ ~ -
-- If _ft. _.._ -'" -'"
T / v v .. .. .. .. .. .. ..
! ,'II v .'" ~ .L .L .L -'" .
.. .. v v -: 0" ~ _v v w v v ~ ~
... v v
g
........ • 0 is sounded u n ull-off from thc 3rd cr. po p

fing

,../, .-. ~-!- ,~ :. f:. ~~.,~. ~~ .. #i-f: ~
-
..
.-"'L _.. ..II!. _.._ l .. ~
li! 1. ~ :: .x _j, LLll -
y ~ u V 1 \V/' v v V u ~ hI IV
V ,
II
~ SoSucMc-6-3

23

.,.,/" n ~ ~ n ~~ s>. ~~~ ~~ ~ff~ ~...-...

--.. .....--.
T ._ ._ ,. ,. ''IlO • ., I .,
! IV IV ... -.011· 'v '" .. , I. ''IlO I. .,
A IV
ft '! !V
g '/1 ~~ ~ - .11-. -I!- • i..#i~t~_n.~
.. - ~

-
T "
~ .. ''IlO .. IV II
A ., IV., " IV
-I'll .. I ., .. . IV IV
g - _,I "/J ~.w.~ I ~ ...-.-. ~.fIL--"""" .-..i - r---

1(4
I
IV ~- ~- .- .-- .. A 'A .r:
. IV .- ''IlO ''IlO Iv .011 IV I. ,,.,
''IlO I. IV U .V a
~ II .V IV .,I" .;_-., ~ .--;. .-..
• • •
eJ - - I'" ~ I'"
ho~_~ ___ ~ hold __ -I
)12
'IlO/ '\ 'IlO V .. /
~' ~;, .. ./
., '''' .. ., u ., V V .. .. .. .,
- .. .. u
.,/" ~ ~ ... ~~~ ... ~...-...~ I ~ -~ P.fIL-.( ~r
• P.M.
- - , ... - - 6> '" .. 1f ..
T V X - ~ - flf y ~ X IXI u / u
! v. -v V IJ ,1J{ -V. a .. u \VI .. / ~-, -
A _u - u v \I, .. .. ,
" v u
W ,,/, -~ I. ~~ ... ~~--:.. I~ ~~ I~ ~ ~ ... ~# 1
-
.. hold __ -I hold __ -I -
T VI X lI! !' '- '! - '! '1 _ -
! u u ., -. -.- -. .. .. .. .. v .. ·V . .V
A 'If V ............ .. .. V
" V
W SoSucMc·6·4

24

1/4 1/4

~" s=:-; b~1 ~1 • J_ r-,-__ ~
• ;. ._ ......-.... I~ ~

~ ._" L-3___.J
1/4 1/4 1/2
" " J A ~
T ~ ~ -~ '" ::: ::: .... / ~/ v /
! .., v v v ", _v " " v V f~'
A .. \OJI .., v 0 0 v __ 'v
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,
t p~f - ..... - ....._....
,
T
! ,,,, 'v \101 Iii 1£
A \'VI Iii " I .. IV
-", I~ I.V 0 0 IV Iv IV _0 IV I~ 0
g IV Iv 0 Iv
- ~~ ~~~ ~ ~~~ ~~ ~ b~ ~~ ~. ~!?
.,/, 1/4 ~~ b1. .... ~
" I
1/4 "..-._ } ~
T _l_ 'v '" 'v 'v .v - 'V"'J
~ _j_ , .. I.., IV '" , .. I I.., I..,
A 'v 'v , .. I.., IV I.., I~ IV
_I'll V 'v ,.
LJ - ~----------------------------------------------------

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-
" V I.'.~ ~ ... • 1I -
-
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Pl .... v IV I~
g
~-------------------------- ,

loco

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~, .~~ --
.. grad. release -
~~ ... , ..........
«:»:
T 10 \'UI h' 'v h'
! , .. 'v 'v '" '" 'v '"
II 'v
.. -' ~v
LJ 'v '"
IV ~b~ ~ ~ ~~~~x ~ ~
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t ...... -
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,~ p - ,~ ,~
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! , .. !~ ,~ !:! ,~ .~
A , .. Iii h' Iv " " IOJ IV "
'" 'v .. Iii " - iI iI
g '~ !" I .. ' -
'~" • D is sounded u null-off from 3rd fin er. po p

g

SoSueMc-6-S

25

.,.",/" ~ . . r. ."'-"1L .• .---.. .~ ~.". J .".
• • • • • •
.. - V ~ ,... 3'"""" '""'""'" r
hold - - -i
"
T .. .. " " " /"\ " " " " " " " ~
\ ~I " ,,' ~ p po p p " p " ..
" ~ ~ .. .. " .. .. ''''' .. " ," .. " " " ... " \I " " " .. "
... .. " - - ...
.., ,,;I, I~ ~ ."..". ,.". .". _.". -f!- 'fI. -!'- ~ ~ -f'-_fI. "'i"' ~~ ."..".
~ - - l___4__l ~
hold ____ -i hold ): - -i
'" " .. ... .. J>_ -" ." ,,_
T ~ ~ X ~ ~ ~ ~ ::: ~,........_ ~ ~ ~ .. ~- _ft
! .. " .. po " .. .. .. .. " .. v v ~ ," _.... .. .. v ~ JO.
4 .. " " .. .. .. ..
...
.., ~

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t. - -
hold.: - -i 1~ .. 1~2 hold.; - -i
" "" "'- _A. ft
T X ~ X .. " " "/ " " " / /'" \ '" "
! .. " 'po' .. .. .. ' J \ ,I
4 .. \'" ~ v .. ." " .. .. .. .. " .. " .. ' .. ' " p ~ .. ,"
-Pi .. .. .. -
g
D.S. ~ al Coda

"/1 _. b,.. ~~ r---.~ ~. ~~ ~,..~.". . • • .-. .-. .Y"
F-
~ 3
hold __ -I ft y4
. " .. .. .. ~ .. , ..
_T -"'. v / \ u u / \I \ ::: .. " '" '" v-» " '" I
~ X ~ \ I p \ .. 1 '" '" " .. ~ .. .. .1
A v " v .. .. 'OJ' ~ .. -'" .. ~ " '" .. "
n ..
g
. b

~

Coda I

.,.",/" .lito :: :: :: ~.".~ ~ ~I ~~ I_-e-. ____ ~,~ I~ ~ -- (Freedme) .lito
.. -
.. .. " '" --
T ~ ~ X l~ .. X _., .L..lJ.
! u u u , u u '. .!I ~ !
4 I V " " 'v .. " u
'Pi IV " "
g
"9 b

D.S.S. ~ ~ al Coda II Saxophone Solo'

So Sue Me - 6 - 6

SO SUE ME

What do you get when you mix "'lequila;' Delta Blues, Ornette Coleman and 'lex Mex? Thad right, John Scofield. If you listen to his originals, you will find that they are influenced by almost every conceivable style of American music.

The IAJ section starts out with a nod to the song "Iequila" and changes at bar 4 where we get a pattern in minor thirds ascending in whole steps. Notice how the blues cliche in bars 2 and 3 of the second ending is developed to create 1m. In this songs case, John insisted there be no chord symbols so as not to influence you in anyone direction harmonically. The solo section is open blowing in and around G, with eight bar phrases marked by double bar lines. Scofield and Haden get pretty far out of town harmonically; following each other on tangents to different tonal centers, playing heads-up and with ears wide-open.

The first phrase is very inside, with some clear-cut melodic ideas in G mixolydian. Phrase 2 bends the ear with consecutive major 7th double stops in bars 1 and 2. / n the last two bars of this phrase, we find a characteristic Scofield lick where the interval of a major 6th is sequenced downward implying the movement of sus4- 3-1 (respectively) of any major triad (ie. bar 7: A-G :1+ -E, (sus4- 3-1 of E), and in bar 8 G-F:I+ -D (sus4-3-1 of D). Bars 1 and 2 of phrase 5 begin with a series of double stops underpinned by Charlies tonal center of Db (tritone substitution for G). / n the first three and a half bars of phrase 6, Haden is setting up what appears to be a B tonal center (listen for B- F :1+ -B: / - V- /) while Scofield is stretching the tonality, winding up with what sounds like F minor pentatonic in bars 3 and 4, resolving to G minor pentatonic in bar 5. Bars 6 and 7 contain a common Scofield groove: double stops with a moving melodic line and a common tone (in this case, G pentatonic minor). In phrase 7, he stays with the idea as it integrates the shifting of keys: Bb (bars 1-5), Ab (bars 6-8) and returning to G (lst bar of phrase 8). The rest of phrase 8 is centered around G minor pentatonic with a twist or two. Speaking of twists, the first half of phrase 9 is sort of a twisted G minor pentatonic. Try thinking of it as G minor pentatonic with a b9 (Ab ) substituting for the root (G). The sound of two consecutive minor 3rds a major 6th apart is a sound and shape that Scofield is attracted to and bars 1-4 are based on this relationship (F-Ab, D- F). The remainder of the solo (phrases 10-12) is packed with double stops using a common tone and turns of phrase that weve come to expect of John.

27

LET'S SAY WE DID

SlowJ = 92 Intro: APmaj7

(4 times) ~

B~ 7sus em7 AP maj7

!is

Composed by JOHN SCOFIELD

A7sus

em7

A~maj7

.,./,.. . . ,..~~~ ~ ,.. ,.. E ~
I ~ •
.
. .
... - ... P.M.
P
" A ". A FA' A A
T v V IV V \VI v A V IV
! v g
II
'"
~ B~7sus

em7 APmaj7

Jr~"

B~7sus

em7

APmaj7

B~7sus em7

./" I • ,.. -_-P- -~ • .,. ,.. .,.,,-.....,. • 0'--"'0
tJ T L_3----J
P.M.
.. .. .. , ..... ... ...
-;. F.
T A g v \VJ ~ .. v .. \"J ~
v u 'w,
A "
'"
~ Mmaj7

~7sus

Cm7

A~maj7

B~7sus

A~maj7

,..~~~ ~ ~ ~ "
./1 I ,.. • ,.. fr • ,.. -~-p---,.. .... ,.. ... r--..
t r
P.M .
~ ... , .. , ........... ,
.. A IA -"'- _'d ,,_ ... _ I'_ F'"
T V V IV V \V, V V " IV -"- lL V V \v_J .. .. u ..
! V V V
A
...
iii B~7sus

em7

Mmaj7

*(ID

B~ 7sus Cm7 DP 7sus

rill L/··\~ • • --n...-...o ~ . -- ...
-
t ,., I I I __.
hold _________________ ~
F.' ...
\"1 ~ A LA'\ _. ..
p u 'VI _~ -: ..
.. _: '1 :,,'Ie A _'A' A ..
u ~"I- .. 'VI v u
-
* Saxophone solos over lli]2nd time. A7(P 5)

~m7

mm7(U)

Fm7(~5) F~7

"/,, I ,w. -- 1,. -.. I I >
- "
..
- ..
tJ ,., I ~ I r -- I
hold ___________ -I hold ______ .., hold _
T -- - .. . ... ~
! ! -: F~' " ._ . .._,,_ _" :. -: . A V .. ':! ~
A ~ ': '''J_ v .. -, .. ! v x % 'A'\ .. '= ~
'" oil .. v v ~VJ' v .. ..
'"
- Let's Say We Did - 3 - 1

Copyright C 1990 SCOWAY MUSIC (BMI)

International Copyright Secured Made in U.S.A All Rights Reserved

28

~" I

-

2nd time to Coda -$-

--

I I I I I

-

- [3.J -......J 1

hold __

-----------------------------

v

A

A A

,

..

v

... ....._

T

v

v

v ~

A V A

~ VA 1'10' V

!

...

"' ~ A

v 1,,_VI

[g Al>maj7

~7sus _ em7

A~maj7

B~7sus

JrCm7

Al>maj7

~ ~ ~ ~ fl., ~ ~ .. .. :-;. fI. .s:
.,_,Itt 1 . Jr. A ~ fI. -~,a.. -----A
..
....-... .. " ...... , " ....... ,
A .10 A ,.- -..
T v 'V v '_VI V 'V), V IV V V I\V, v V/
! vv v v
A ,.
- ..
g B~7sus

em7

Fm7

E~/G

Ab maj?

B~7sus

Ab maj?

> --

.,_,I" II'"'\",*" • • 1 .. C'. .:--- _._ ~ ~
t.J L_3---....J I ~
hold ____
,..--.._
T v v l:: .. ~ 'v
v ~ ~ .. ~ !!
jl v .! ~ Il!l v v
'" ., ., v \VI
g B~7sus

Cm7

Al>maj7

:>.

B~7sus

em7

A~maj7

>

---..... fI.~~ ~ ---.....
.,_,I /I I ~ 1!-. .".--;;:::._ • ......... ~ ~ ~~~JJ~ ......... ~~
..
tJ oJ L3_J
......... > 110 10-- A ......... 110
T v A IV A I~ V ,v u .:-,. A ,. ...... ,.' 'V
! II ~ V V ~ ~ 'A' ft V U'v V v ... I'"') A
A v ,vJ v v
-n
(;J_ B~7sus

H

Cm7

A~maj7

............

>

m7sus

em7 C/o

DS ~ IC d

~~ ~ ~ ~- ~ ~ a o a
~, I «>: fI. ... ~ :--...
tJ p<fl r .J -
'" ,"_ .,.......
T v v IV .: '... I IV U A .: .....
! ~ v A ~ ~ ~ ~ ~
A v v , v , .,
- ..
g -$-lm

Cod Al>maj7

B~7sus

em7

A~maj7

B,7sus

Cm7

Jr

a fI. ~ ~ ~,-..~ _f; _~ -..-..
~~II_ _l fI. Jr. A --_ fI. _;..,a.."-"
-
tJ
I,. ,. :-;,.-
T v v IV V \v) v V IV U , u
! A V V V v
A v
-",
g Let's Say We Did - 3 - 2

29

Mmaj7

.. ...

Bp7sus em7

~---------------------------~

~.... ,

Fm7

Ep/G

~" 1 'A- • ~ .,._ ---~~~ • • . ..-.. . I ,,_ ~ •
tJ r '1"
P.M .
...... ...... ..... ..__....._
T ~VI I .. 'v 'v ___ 'v \'v) '" '" \, .. s-; ~ .. ..
! J .. ..
II " , ~
.. .. v .. v
I.iI maj7 B 7sus maj 11 B 7sus em7
I Saxophone " " _._~!'- ~"'"'~ .. ~.!'- • ~
t mf -
v. I r=: • /~~~ ~~ ,. _...___
-
t """"""'" L3~ ~ ..... 3-
L-3__J
, ..
T v /''1 V
! !! " v
Jl I ~I " /V IV V '" ft .".. 1... ft ,.
-Pi 'VI IV .. ,. 'v " ''1
g Ad lib. duet

M '7(# )

M maj7(# 11) t ~

Bp7sus

~

em7

Mmaj7(#11)

8vQ ,loco

~~. tr~ fr ~ --- ---
I • .~. .-.,._ . f!:. .,._ .~ __....._
t J
>- ~ tr >_
VI 1 - ~ ~ ~~E~~ ~~) tr ~~ ... -=----
t -,} 3
p<.fl
r-, tr_ tr tr
.. ... .. ,ft
T 'v '\ IJ IV V \'V) IV -
V 'I
Jl v v \''1) V , .. ,. 'v
.. ,,,) ~v v
iii v
...... Bp7sus

Cm7

M maj7(# 11)

1-. Fr1 6 ,;; , • -.........1':\
t ... - ... - I
/ >,..-._ ----1':\
V, 1 -.. • 3 ~ ~- .u
'<,
~ ~ ~
>
T 'v 1/''1\
! -'" v II ,
_jl .. IV 1ft 'v " v \ "I
_ft 'v IV '" ft -"'-
~ IV .. V V~~V
- Lei's Say We Did - 3 - 3

LET'S SAY WE DID

The changes in the G1I section may be heard as I -b VI I -iii in Ab, or as Scofield hears it: b VI -b VII-i in Cm which explains the key signature. Once again, simplicity conquers all with an angelic melody that is suported by a passive 3-chord background. The G1I melody owes its character to the D note that recurs over the Abmaj7 chord, which in effect, gives us Abmap # 11. The !HI section is an 11 bar phrase with the groove changing to a steady quarter note pulse, while the chords move unpredictably, contrasting G1I beautifully. The IQ section is a repetition of G1I with a 2 bar tag into the solo section.

Johns brief solo is succinct and very inside. Over each Abmap chord, he plays Eb (the 5th) and D (the

# l1)-theintervalofa major 7th on the "and of2" giving the solo a common thread. Check out his note choice and how lyrically and laid back he plays here. Alihough I could not include Scofieldi: comping in this book (for the sake of space), that does not imply that it is less valuable or that you should not pay attention to it. John has one of the hippest and most original comping styles around. Listen to how he backs up Lovano on this tune - talk about pocket!

After the 2nd C ( .. ), Lovano and Scofield bring the tune to a close with a duet improvisation over the G1I chords, again with emphasis on the "and of2" in the Abmap # 11 bar. Very sensitive indeed.

31

FLOWER POWER

Medium waltz J = 168 Guitar unaccompanied

Qlmaj7

A

E/G~

Composed by JOHN SCOFIELD

Bi> m7(#5)

_,I" oItn ......-:-- I I '1 ~ b .. -rt.,
--
-.J rr ~. r r # I- ~ D-.
~. ".
P hold------'. hold-----I hold - - - - - - -I
..e=
T --"'-
• .. ~ :: .. "! .. A
A ... .. -e- II
'" OJ
g " A
.. ~ " B7sus4

Qlm7

F#7

E

A

B7

E

",_"."., I

./1 .. .. _.-, .. ~ _l - J±. ~ i ~.
,
"
• ~ :tf* J",.oooo'" pi ~ 1 r -r -; >
+r -;
hold - - - - -I hold- - - - - - --I ho!4-::._ - - - - -- -I hold-----I 77 ...___._,T
_A .
T ~ .. . . . -" ~- .
oil V __X
A ~ .. .. ...
'" A ..
g ... _A A
.. V V B7

E

A

B7

E

,./" 't6" *. ,,-.-. .. --r.-- - .. - -
..,
,
"" ...
-.J 1 1 1 1 I I
hold----I
~--- A ....-.... -
T ~ .. ~ ~ ... .. .. v "
... ... v v v x A
A .. .. ...
"" - -
g ~ Band enters G

c

07

G

c

07

G

c

07

""/1 1 -h ... 1 I I ~
-
.. I I "-"'" ~ r t· ) I
hold - - --I hold - - - -I hold - - - - -I hold-----
-
T A ~ ~
~ oil l! l! v- :: v v x
A v v ': :: :: ~ 'A' U
"" .. ~ .. .. v \VI
g G

E

A

B7

E

A

B7

"/1 .. .. =------
--
-
• I I I r 1......1 1 I
- - - - - - - - - - - - - - - - - --I hold - - - - - -I
A _A -"
T OJ - ~ .. 1 .. \ v _A _x _A v
~ , .. oil , .. ~ ~ ~ ~ ~ ::
A .. .. .. ~ _ ... ...
Poi
g Flower Power - 9 - 1

Copyright C> 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

32

E

A

B7

0#7(115)

G#7

[ID

almaj7

A

FlIm7

~ ~ ... ~ .. ... 011:. -It •• .. ...............
.. 1f •• I I ,..
hold- - - -I hold- - -t hold- - - - -I
-
T r , .. A . .. .. .. .. A A V
~ A .V '" s: p_ ~_ v :t :t ...
A A U V .. .. ... ...
ft v
g v WG#

Bllm7(#5)

B7sus

alm7

F#7

E

A

B7

"IJ I ,w. _. ,,--.. ,w. -11: .. ,..-.... .. I ,w.. -it ... ,..--._ ,w..
~ I ... I
hold- -I
_'"
T .. .. p ... ... p ...
~ 1 .. -: .. .. .. .1 ~ v .. ~
A 1 1 ... "'" .. ... ..
ft ""
g ... E

A ~

B7

E

A

B7

E

_,IJ -11:. ~ _i •• 1,):.. •• .. ~ .:..!o
-
~ - I r I~I
hold - - - -I
A--- r: "'~A '"
T ~ .. ~ ....... ~ ... .. .. ... v I VI
~ v .. ... V .. -"- x '" ..... \ I
A V ... ...
"
g c

07

G

c

07

G

c

07

G

~ .. ..e: .~d- .. ..!: A ,w. ... : .. ..e .".-... ~
.. • • • .. _ .....
. .
tJ
hold- --I hold------
'''' '''' - A-
T .;: '''' '.J! .. _ft ", _ .. !X .. _'" , .. ..
~ .~ U ~ -- !}. !~ .. ~ u _X , ... l~ _..~ u ~ - !~ ..
A '" .... -- .. J- ., ..
rt - ..
g E

A

B7

E

A

B7

E

,/J .p- o"" ~ . ~ ~ ,w.~':.. ~ .,...
. _
._
~ ". ) L--3__J
-----1 hold- - - -I hold - - - - - - -I
""-
T • v . ~ ~ .... ...._ •
~ ::: - !. 'v '" \."1
jl v v v u \.U) v v
..- I \VI -
g >

A

B7

0#m7(1I5)

G#7 ...--:---......

[ID

almaj7

A

F#m7

E/GlI

"IJ ~ -It •• .. it. ~ • -It. I .. i± • .,..
. ,
. _
~ r 'IT ") ~. +r
hold - - -I hold - - - -I hold- -I hold---I #*.
-
..
T .. .. .. .. .. "" : _'" '" .. ... .. •
~ ~ - 1. " .. ... ... ~_ .. ~
A u_- U v .. ... ... ..
__foI - v
g v
... Flower Power- 9 • 2

33

B~m7(#5)

B7sus

C#m7

F#7

E

A

B7

.,..,/" .. ~: (~~ .. ~ .. ,..-.._ .. ~ _,......."" ,:.;.
..,
~ r I I
hold - - - -I '\ hold---I
--- ....-.....
... '"
T s. '" ~ .. " v ... ~ J"-\ ~ .. ... -"- -"" ...
! !. " _._ _X ill v '" v ~
4 u v .. '" sz: v " ..
'"
!;l A

B7

E

.......

-

-

I

I

I~!

T

hold - - - -I ~

v .. v

v

II ,

'"

... ".."

..

IV'

\ '/

[AJ Guitar solo 1st Chorus:

G

C

07

G

C

07

G

C ...

07

"'/1 - • ..-...... f'- ~ ... -~ _._ _._. 1-_ -~ t: :
..,
I
.. I000o''''''' I __ .J
Lft
T '--"- 'v " 1~
" 'v 'v .~ .~ , ... 'v
4 " . \"J , " ~:: "
'" " 101: ., • v .~ ...
!;l -
- G

E

A

B7

E

A

B7

./j ~~ ~ ~~ f'- 1±. ~ .Jt~
1*- ~ ... ,:.;.
.' ..,.
..,
t.J r
hold----I
• ft .... ... ------ ... _ ..
T !~ ... 1ft .... , ... " • ...._ ..
~ IV " 'v " " .v " J,_ 1. .X ~
v -"" v " " u u
... ., -
!;l E

A

B7 0#m7(~5)

~

G#7

[ID

C~maj7

A

./1 1±. #i • 1*- 1±. ~ . /'";;'- r----3_
... .' .
.. r
_._ .......
T - -"-
! " , .. " 'v .. v -"- ~
jl " .v v '" v v u T--
'" "
g F#m7

E/G#

B7sus4 I~

C~m7 :--...

"/11 ..........., ,-3~ .... 'F .. ...--..._ ~1*- A 1±. 'h+-'~ ~ .ft. ,;,;.- A
...
t.J ~ I
..-..... ,-... __....-....._ ----..
_.._ -"- _.._ - --
T .. v ., ---"- , '" .. '\ ') " .. -12-
~ '" , '" "
4
PI u ..
g -- Flower Power - 9 - 3

34

E

A

B7

E

A

B7

E

A B7

~

.,I~ 'i'. i~ . ,,-..._. .,,_ ~ .. "!- .. "!-~ :F ~---.,,_ "'_-IJ:.
.., -4----.J
hold - - -I
.. .. " . .:- .. ..~
T .. IA\ • .~ !,. !,. _A ~ .. ,. " --- ~ .....
" ~ .. , ~ HI 'v , , .. "
jl v " '''i .. -
..
g
A 2nd Chorus: E •

.--....

~

o

C

07

o

,./" ..,.. -IJ:. .."!- • .,,_ +- ~ ~ -
~ ~ • I T -,
.., ""__3----J I I ..
hold-----I
.. ..-- ,,--...
.. , .. ...
T _ft_ 'v v
~ 'v .. , . u 'v
A .. ~ A 'v .. .. " ,.
'" V ,. ..
.., -
• B is sounded upon pull-off from the 3rd flnger. 'v C

07

o

C

07

o

.,I" r""""I ...-- .. • • ..... ...
..,
.., " '--1 I
-
P.M. --I P.M.
T
! .. v ~ !. .. .. ~:: ~:
A , .. , .. v .. , , u,
" '~ '~ _ .... .~
g .. .. 'v E

A

B7

E

A B7

~

E

#$ !±. ~- .. ~- --- ~ ~ _~~ ... ~
,_"I, (~) ...-d- ... IT LJ±.
t -3----.1 . ., --..J
hold--I hold---I
..-..
.""
T ~U!_ ...- t: .~ !.. !. ,. " • •
~ ...- .. .. 'v 1111 1111 • 1111 1111 'v 1111 • 1111 •
A - 1111 - 1111
'"
..,
-.... A

B7

0#m7(~5)

0#7

lliI

C#maj7

_,It. _,-._ .. .tj:~ ~~ ... ~ .~~~ +- ~ *~
.., . ., ____,
.....-..
- - - , .. -
T v .. 'A " ,. 1111
~ .> 1111 'v 'v 1111 , .. 1111 ,,, 1111 Iv
A v V , , .. , 'v
'" 'v
g --- F#m7

EI 0# B~ m7(# 5) 8va-----------, loco

B7sus

C#m7

F#7

.,I" ~ ~ .,,_~ ~ • .. ~.,,_ .. _,-...., .fir? ~ .110 .+[.~~---~
,: .
..
.., -3--.1
--
-
T .. .. 11111 I. IV " IV I .. " .... .
! , .. " ,
A '" IV I"
'" 'v I .. ,0> ,,, \ , .. )
g - - Flower Power - 9 - 4

35

E

A

B7

E

A

B7

~ .. ~ ~ ~ .. . 1l: • ~- .~ F ~ ~
..
T
! ,/ .. .. -- , iI ~ !.. ~ ... 'v " 'v
A v V 111
'"
W E

A

B7

E

.-/A.~~~ ~ ~
~ ~ ~ r:» ~- .. ~ ~
..
- - - -~
T , .. _.,,_ ....
! , .. 'v , .. 'v ". 111
A 'v 'v , .. , .. , .. ..
'" , .. , .. 'v
W ,.
- ~ 3rd Chorus.

G

;:'"""\

c

07

G

c

07

G

'/1 ~ ~. ~ ~ '~ ~ /""i!' .. ----
.. 1 I <:» -:;J.'

__...__
T IV " v 1 ,VI iI .. . .. "
! v iI , . iii V ..
A 'v 111 , .. iI ..
'" iI _, .. ... _ ..
g -- v c

07

G

E

A

B7

.-/1 ... ..r_ .,. "f!:. .ft-~ .---0 1l: • I .. J
.. ... • ~I I r 1_ • ~ "'3-
4_ -
.-..
T iI V , iI " '",
.. , v i\~_ 111 ..
A ii, _ .. . .. ..
'" .. .. . 111 ..
W .. .. - , iii .. .. _.. v
....., -- E

A

B7

E

A

B7

Oilm7(~5)

.-/, 1l: • .ft- ~ ~ F ~ ~~ .,. ~~~ .,. F~~
.. ;-;- t=
.. ~.
hold- - - - - -I
~ ~~ ., ~
T 111 " " , .. " I, " , .. \''')1 " "
! 111 "
A " ,
PI '" ..
g v Gil 7

lID

Cilmaj7

A

Film7

FlGiI

,/,. ~ ~J.. .. ~ .f!. #,a. -;. ¥-'-_A ---~ - ... .. ~ IR.
.. I 1

,-_
T ~ '" " '" , .. " '" -
! , .. , 111 111 , .. 111 " '1.")1 'v 111 " , 111
A I, 'v 111 V .. . .. 111
PI , .. .. , V 111
g Flower Power - 9 - 5

36

B7sus

alm7

E

,.'/1 ~!Il- ~~ .. ~-~ ~~ ,..-...._ ... ...
f- fI- .. ...-..._ /"Ji:' .--..... it. A .. ~d-
~
...-........ --- - .....-.._ ,,-...
"" '" ~ _A ~A _"- _'"- ~
_T v J V ., -- ., J V ~.A J.. .J..
.~ ., I I Of ., J .. ..
A u . -., .. -
... v -
g A

B7

E

A

B7

E

A

B7

E

"'/1 ~_j±. ....--:;-!-_""'_,!. .. _,!.~ .it .. p.. .. +i: .. ---:' .. _".,.__ ~ -.~
t -3----..J
T .~ ! !. _A
~ IV .. ., I I .. .. '! ~ ~ ~ .. ~~ ~ ~~ _X
A .. - u v v v ," g = , .. , J 'I ., 'I ..
...
w
A 4th Chorus: c

07

G

c

07

'/1 ~ ~~ fI-~ ~ ----- ~ ,.----....... r-:L ~
... .. ... .. .. fI- +- --- ~ ...
~_
----- .-..-.... :--
'''' lA ........... ~ '" -
T I' I. • V -" , .V " p U ..
~ I. 'v .. , IV 'v I. .. _ _ft V V '"
A ,. .. .... .. , ..
I"i
W G

c

07

G

E

,_,III 11!' ~ .. --- --- /"1r' -H:. , +.1:. fl-
t} ,... ~' I r
_p --
_y p_ -"'- ., -- "".::--.
_l. ., v ~ .. .. " .. .V I ..
" .. .. v ..
... ..
w "
... ~E

B7

E

A

B7

rti #,,:~. .-~. ~~ ~ fI- i±~ ......-... , ............. I I
.. ~-
...
.; ~
1 1 1
.J ) / r=-: ."" ........
T .. .. .. .. I '" . -
! .. "
A .. u u u v -- .. "
... u ..
1.1 ....._ I 0#m7(~5)

G#7

[ill C#maj7

F#m7

"'/11 I I ±l:. .. _ • ~l:±.~ ~fI-~ ... ±l:.---;;;-' -H:~ jL
"
tJ ~ -- ---- - r 1---4
hold---I
T -
I, I .. V .. I,
A v ., 1\'" - V 'v IV .v
... .. I , .. IV 'v 'v ''''
g " v - -
-- Flower Power - 9 - 6

37

FjG# B~m7(#5) B7sus

~-------------------------------,

alm7

F#7

./j .,,_ -It • .. ...---.;-.... .. .. ...-... -It • ..
t. -4--._J ,... I I
T .'" IV , .. J'! ... . ~
" , .. I~ , .. , .. 'v ~ :::
J1 'u .... - 'U v v v -
"
W E

A

B7

E

A

B7

E

./1 ~~ .. jL ~~ .,-...._ .,-...._
- l±. .. -!- ~"' .. ~ d ... ~
'-"
• r- ,...
....-...... hold---I r=.
T ::: ... ~ : v !. - !.
~ \ '[) • . . : v , .. '"
J1 - " '" '" -
n
"
A

B7

E

[A] 5th Chorus G

.. ,

07

,/, ,u,~~ ~ .. ~ .,,_ +- .,,_ • ~ r- .,,_ .. .------ --
t
hold - - - -I
---- ...-
~ 1ft
T t: ,... , v
~ . " , ft , V V IV '"
" V v ...... ., 'v " .. '" IV
PI
" G

c

07

G

c

07

G

,;,,'1, I ..-..._ ~ ~ ~ ~ ~ ~ ~~ ~ ~ t!: .,,_ • ~ ...
t

-- ,-..
T - 1ft 'v 'v , .. 'v .... 'v
J. 1ft 'v .... '01 ,. hi IV
" " .... 'v ..
PI '01 .... IV '" .... ,u
g ,. .. - -
- ,/, ,u, • .,,_ .,,_ o!±. ~ .. .. - -
,I
"
t - - - ~
-
_T ,ft
_!_ .. I ... 'v 'ft'
A_ 1ft •• '" " " "")I
ft •• '01 " , \ iJ
g .... , ....
- ..__.;. -
B E ~

A

B7

E

A

B7

E

I]]

A B7 0#m7(~5) G#7 C#maj7 A

~---------------------------------------------------

./, __ 11: • .,,_ "'_ l±. • ~. ,:,j, -It. ,u,_ .. ,-.. :-- ~
I -...
" I
t. 11'- I '-' V ;y.~ " 'I 'V'-l!,..- ~ ~ ~ .. ..
~ 5:4
.:::---,,. ,-..
,.
T 'v 'v "V 'v , .. , .. '01
~ I. 'v " '" .. , I., " .. I~ 1ft 1ft , .. , .. , .. , .. "
" IV ... ,,, .. ." ,. Ig " I" <, IV
... IV'" ,,, '" 'v - IV '" I ,. ~ - " , ..
g - IV IV
- Flower Power - 9 - 7

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FLOWER POWER

Flower Power is a big departure from the other tunes stylistically. It gets its strength from the I -IV- V progression and has a Caribbean flavor to it. IAJ is comprised of2 eight-bar phrases; first in ~ then inE, ending with a ii-V7 (D ~ m7b5-G ~ 7) to C ~ map, which marks the beginning of the 1m section. This section is suspended in harmonic limbo, as it remains non-committal to any specific key for the first half(8 bars), and settles back to the keyofE with the return of the I-IV-V motive in the second half. Because the key areas are changing so often, the key signature has been left open to avoid excessive accidentals.

One of the wonderful things about this solo is that we get a chance to hear Scofield negotiating through changes that are very basic (major triads), with the exception being the first half of 1m , where John's bebop influence tends to surface, accommodating the denser chords.

Points Of Interest:

The 2nd chorus begins with a Sonny Rollinsish vibe ala "St. Thomas:' Check out how beautifully Scofield balances this chorus rhythmically-constantly shiftingfrom consecutive eighth notes to disjointed, syncopated values and back again; and texturally - by alternating single-line ideas with double-stop ideas in a completely natural way. Study the chord connection of D ~ m7b5-G ~ 7_C ~ map each time it occurs, and notice how this contrast point from IAJ to 1m keeps lifting the solo to a higher level. There's a built-in excitement here that Scofield is always right on top of In the 2nd chorus notice how nicely he extends the phrase through to the F ~ m' chord; and in the 3rd chorus, where the beautiful shape of the line (beginning 5 bars before 1m) is designed to land on the 3rds of G ~ 7 and C ~ map ana then finally ends at the A chord (2nd bar of B) anticipating it with a ninth (B). The six bars that follow (until the double bar) stand as testament to completeness of thought and execution. Study the contour of the single note line, and also the choice of notes and how they relate to the changes. The second half of 1m is equally complete in its phrasing and beautiful in how it balances the first half by using double stops that seamlessly join the two sections together. The intensity and momentum of the 5th chorus builds from the start with driving eighth notes, chromaticism (bar 3 of IAJ), and less common "target notes" (bars 2-5 all target the major 7th of their respective chords, and bar 6 targets the ~ 11).

41

STRANGER TO THE LIGHT

Fast J = 260 Intro:

Composed by JOHN SCOFIELD

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, .. , Stranger To The Light - 11 - 11

STRANGER TO THE LIGHT

This tune is based on an atonal bass line around G Or as Scofield would call it, ''G whatever." The melody of the head is shifting between the key areas of G and Db (bS) The IBl section incorporates the sound of the whole tone scale, while the melody opens up to longer note valves that are harmonized with double stops, similar to the contrast of sections in WUbash I I I. The absence of chords affords Scofield a great deal of harmonic freedom. There are spots in his solo where we can hear specific superimpositions such as Db mixolydian or Db symmetrical diminished. However, it is obvious that the thrust of John's approach on this cut is less scaler and melodic than it is fragmented (shapes vs. scales) and rhythmic. The groove is like that of a fast jazz number, but you will notice that the time gradually becomes more flexible until it is almost completely out the window by the time Looanos solo begins.

Points Of Interest:

I would first like to point out some select examples of where Scofield is superimposing ideas based in the key area of Db. In the 7th bar of the first 8 bar phrase, he plays a sus4 resolving to the 3rdinDb (Gb-F), which translates to major 7 moving to minor 7 in G (F:I+ -Fq). In bars 2-4 of the next phrase, we heara clear-cut blues lick in Db mixolydian. In phrase 4, bar 3, we have an idea that begins in Db mixolydian (bars 3 and 4), shifting gears momentarily to G pentatonic minor (bars S and half of bar 6), and settling back to Db mixolydian - (made apparent by another sus4 resolving to the 3rd in the second half of bar 6), ending off with a typical blues-type trill between the major and minor 3rd (Fb-Fq). Note my use of enharmonic spellings as they relate to the key of Db. The pick-up to phrase 6 appears to be derived from Db symmetrical diminished, moving into a great bebopish blues lick in Db mixolydian in the first two bars. After phrase 16, you will notice the double bar lines endindicating free time. 31 bars from the double bar of phrase 16 (counting the ~ bar as one bar), we arrive at one last example of Db superimposition. This one begins sounding like an old swing lick ala Charlie Christian - but ends undeniably Scofield in Db minor pentatonic. Everything that Charlie Haden does has an effect on what Scofield plays. Listen to how Haden supports or purposely obscures the direction of the music, harmonically and rhythmically, acting as a musical mediator/traffic controller.

Obviously, this is a complex solo in many ways. Many of the lines John played are very chromatic, compounded bya sense of freedom due to the nature of this tune, and therefore, become very difficult to derive an origin from. But since music is in the ears of the beholder, your interpretation of what you hear may lead you to some useful discoveries.

FARMACOLOGY

Rlrmacology is a basic blues in Bb with a very tricky head. This is one Scofield will usually pull out at the end of the night, and he and his band proceed to burn it to the ground.

The solo is 13 choruses long, and John throws in everything plus the kitchen sink. There are a wealth of harmonic approaches throughout the solo, and each bar should be isolated and put under the microscope. When analyzing, pay close attention to the balance of chord tones (1-3-5-7) and non-chord tones (2/9,-4/11-6/13), and where they fall in the bar rhythmically. Scofield's ever-present use ofBb pentatonic minor often groups the I and IV chords together. See bars 1-3 of the 2nd chorus as an example. The Bb pentatonic minor scale acts as both pillar and springboard throughout the solo. Analyze the occurrences of this scale in the 3rd, 5th, 6th and 10th choruses especially.

An integral part of this solo is the use of the Bb and Eb pentatonic minor scales with the addition of the major 3rd: Bb (Bb Db Dq Eb F:j:l: Ab) and Eb (Eb Gb Gq Ab Bb Db). Listen for the shifting to this blues-like sound in choruses 3 (bars 4 and 5) and 6 (bars 5-7).

Scofield rarely repeats himself in outlining a chord change. Look carefully at each time the ii (em7)- V7 (F7) happens. In bar 9 of the 3rd and 6th choruses, John accentuates the ii chord with the leading tone Bq, and in the same bar of choruses 5 and 7, he transforms the quality of the minor ii chord to major, thus implying a V7/V7 to E

Another ingredient is the Bb altered scale (Bb Cb Db Dq Eq F Gb Ab) which he uses as a stepping stone to the ii chord in chorus 2 (bars 7 and 8) and to the IV chord in chorus 6 (bars 2-4). I urge you to take in the balance of his phrasing and the personal way in which he articulates.

54

FARMACOLOGY

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Composed by JOHN SCOFIELD

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56

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57

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58

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NOCTURNAL MISSION

In this introspective ballad, we have a seriously original, one-of-a-kind Scofield composition. ~ is a 12 bar phrase marked by an active chord progression which would be consit:lered in classical analysis to possess "weak root movement:' That is to sa~ there is very little use of the typical dominant (V' -I) function as we know it. Instead, the function of the dominant chords that do exist a~ passive, as they resotoeto chords thai ase distasu to the tonic key of ~: Cm-(i.e. A+7-Dm, F# 7/A #-B). This is not to say that a composition must be based on strong root movement to work, and this rune proves this point. Scofield has said that Nocturnal Mission doemt ~lly have chord changes; rather, it! "just notes!' From listening to this tune, I'm SU~ you will see what he means. The beauty of the !BI section is in its absence of a written melody (so what is played during this section wiU always be different) and how the chords (Bbm(9)/C and Abm(9)/Bb) alternate, c~ng a sense of stability and sharp contrast

to the G1l section. The "sound" we hear over these two chords is C phrygian and Bb phrygian respectively. In the first two bars, the only altered note in C phrygian is the Aq (q 6), which can be considered passing downward to its resoluuon: Ab, (displaced an octave above) on the 2nd beat of the next bar Notice the two triadic shapes derived directly from C phrygian in these two bars: Db; bar 1, 2nd beat, and Ab; bar 2, 2nd beat. Scofield has done intense homework on modal harmonization, and more extensive proof of this can be heard in "Time And Tide" Bb phrygian is the derivation of the notes in bars 2 and 3. The dense sounding chord in bar 3, beat 2, comes right out of Bb phrygian: Bb-Cb-Eb (1-b9-11). The melody in bar 4 is very strong, and the harmonization (the lower voice) is in keeping with Bb phrygian. Bars 5 and 6 switch back to C phrygian and make use of a melody in double stops with a C common tune at the top. The last 2 bars a~ back in Bb phrygian and owe their s~gth to the Bb pedal-note above the Abm and Bbm triads; connected by the C-Eq-Bb (C7) chord which is passing upwards .

....

63

NOCTURNAL MISSION

SlowJ = 76 ~Cm

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-- ,,-..,.

Composed by JOHN SCOFIELD

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A"
T v ~ " ~ ~ I ~\
v ~ !l \ ~I
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ft
g "
~ \~-L::_ __ v Nocturnal Mission

Copyright C> 1990 SCaWAY MUSIC (BMI)

International Copyright Secured Made in U.S.A All Rights Reserved

TIME AND TIDE

The ascending chord structure of Fm7 ~ 5-Gm?b5-Ab 7 -Bbm7 comes directly out of the F aeolian mode, hence the Fm key signature. This progression serves as a laid back intro/vamp until Scofield brings the melody in at IAJ. If you compare this performance of the IAJ melody to the lead sheet melody, you will realize that Scofield is interpreting his own melody as much as anyone would. [8] is also interpreted very freely, while John s ability to playa single line melody as well as choice chord voicings simultaneously in a seemingly effortless way is in full force. This section is a perfect complement to the former section in every way, and I urge you to study the chord progression here, being that it is so unique.

This chord movement strays from F aeolian, and the shape of the root movement has a great deal of contour until it finally arrives at the unpredictable D7 sus4 chord at the end of the phrase. [Q is just like IAJ, only halfas long.

The solo section is loosely based on Bb aeolian. In this solo, you will hear Scofields tremendous command of spontaneous melody and harmonization. The first 8 bars are so strong musically, itS hard to believe that they were not preconceived. Tor the most part, Johns approach on this tune is chordalconsisting of 2 and 3 note chords derived directly from Bb aeolian. In phrase 2, bars 6-8, you will find double stop ninths. This strange and beautiful sound is used again in phrase 5 (bars 1-7). These double stops, being of a spooky, hollow character, sharply contrast with the richness of the (triadic) chords. I have heard Scofield speak of musicians who are too "root conscious;' and in listening to him and his music, I can honestly say I hear a musician free of boundaries. ror insight into this, I would suggest studying the movement of his chordal approach, and listen closely to tension and release (consonance vs. dissonance), nods to other key areas, and the general unbound, "non-root conscious "spirit of what he plays.

Note the specific structures of the 3 note chords used in this solo. In phrase 3, the intervalic structure is a 4th plus a 3rd (bars 1-4), with the exception of the first inversion Bbm chord (Db- F-Bb ) found on the "and ofB]' 3rd bar. Phrase 4 begins with the same structure (bar 2), and develops into a wider-voiced structure of a 6th plus a 4th (bars 3-8), with some variations along the way. This "interval stacking" approach can be done with any scale and will expand your knowledge of the fretboard as well as your musical vocabulary.

65

TIME AND TIDE

Slow march J = 120

Intro: Guitar unaccompanied

Fm7(# 5) Gm7(~ 5)

...

B~m7

3

Fm7(#5)

Composed by JOHN SCOFIELD

Gm7(~5)

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Copyright e 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

66

A~9

B~m7

~

Fm7(#5)

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67

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68

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69

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70

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~ " Time And Tide - 7 - 6

[Al

Fm7(#5)

71

Gm7(~5)

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72

BE HEAR NOW

Composed by JOHN SCOFIELD

Free time (moderately)

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- Be Hear Now - 4-1

Copyright e 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

73

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- BeHearNow-4-4

BE HEAR NOW

Be Hear Now is a free improvisation based on a head that is comprised of six distinct phrases in free time.

In transcribing the guitar solo, I used the note values in Scofield's lead sheet as a measuring stick for determining rhythm This is of course my interpretation and you mayor may not agree with it. The important thing is that you are open to the flexibility of a transcription of this nature. The absence of bar lines renders an accidental useless beyond the note it accompanies. Therefore, it is crucial that you keep a close watch on the accidentals - it can get very tricky.

The solos are loosely based on the harmonies that the head melody outlines, which are as follows: phrase 1: Ab-Db-Fm, phrase 2: A, phrase 3: Bb, phrase 4: Gb, phrase 5: Gand phrase 6: Ab-DbFm- A. It is entirely understandable why with this tune (as well as some others in this book), Scofield prefers no chord symbols - the looseness of the solos dictates freedom from this and other common ways of measuring phrases such as bar lines and key signatures. The enharmonic choices that are present in the solo may seem obscure as related to the chords I have suggested; I went with convenience and logic. I will not attempt to pin down specific ideas from this solo and discuss them from a harmonic standpoint. This would be like forcing square pegs into round holes by virtue of the difficulty in determining what effect the bass has on everything Scofield plays at any given moment. AsJohn told me, Charlie Haden is like a "traffic cop" on this tune. It is the bassist! role in a case like this to balance the band harmonically and rhythmically, mediating between the drummer and the guitar player- not an easy job.

There is sublime interplay between all involved, and their respective musical identities are everpresent. As usual, Scofield balances his phrases with a diverse rhythmic approach. Since we~ speaking of free time, I would urge you to listen to and feel the rhythmic "push and pull" of Scofield's presence and also how he manages to work in all of his signature characteristics (double stops, hammers, pulls and slides, dynamic subleties, etc., etc.), as he gives everything he's got to the music.

77

FAT LIP

Medium funk J = 100 Intro: Guitar unaccompanied

C#7

Composed by JOHN SCOFIELD

'/1 .110 -It ~ ~~-;. - ,-.._
u, r-;. .- ,........., "~
• *~ ===== -=i .. ~ .. .. ...._.. ---- ..
rr", I
l
T .. . /
! I.e:- "IIJ / . ,_
.Il .. '': ! I!I '" ..
- ... <I , U .. , .. , .! l..l""J~ it !!
g - - - \ ", .. " 'v,. " ..
IIJ IIJ IIJ .. " -- - - "
• . All low CII s are played wI thumb

3

- .. -=i "'III

-

.. .."'III

r

r- f

1/2

'" ....

1~

T

7 '\.

I.e: IIJ _ _

IIJ \ ) ..

..

<I ..

" "<I

"

"

,_,III .110 -It ~~ :: - /1' ~
u, I ~ ~ j - ~
• .... .,. --=- .. ~. , -. -. .. L ~
- grad, bend -
hold - - - -I Ij4
T \!) /1 ;:J
! ,. <I . A/I
A -- IIJ . - '" '': '': !" - ..
.... IIJ " .. u u .. IIJ <I ..
g - - ..
.. .. " .. .. " "
• C# sounds upon pull-off from 4th finger, 1/4

>

B13 G#/ B#

'/1 .110 -It ~0. ../r- J ~- ~ ~
-;, ~ r....., ;; ~ •
• ...... -r- .. ~ .. ~ ~ p ~
- 11(
..
T - 7 "
! • .e: IIJ . ! !
A IIJ . '': ! II !I s l:
.... I' IIJ .. u .. I'''' I • . ..' TI u
g - .. • - .. ..
.. -:T v " u u " FatLip-S-l

Copyright C 1990 SCOWA Y MUSIC (BMI) International.Copyright Secured Made in U,S.A All Rights Reserved

78 ~ Band enters ~ C#7

fr

B13

G#/B#

. ...... ,._,,,
.".,,/,., .Ilo i ~~ ..Ii .~ .--:---r-- P""-" - - .
r-= * .. .. _. _. ~,.-
• r r .. ... r ~ I;"- .. p .. ... -
1(2 fr .. "' ..

T J A .. .. _
! .Ii • .. i! ! :_ _: f f f
A iI W II i! "V) !!: ! Jt _: f
-11"1 " iI • " - .. I , V V W
g - .. -
.. .. • • v , , v v .. C#7

1/4

.c

~ 1/4

,../,., .110 ~ - j !:
u, -,. -= I ~ . \~.
.
tJ _ .. ... .. ... .. ' ~. .. r •
...!!!
j'4 ~4
... ..
T _ J I, J ..
:: ,: .. '
Ai :: .. .. .. .. -- ~ ., . ""} .
-", • .. .. I • .. II .. .. •
g .. .. - ~ .. .A - A .. ..
.. , .. • ., .. v .. " " .. B13

O#/B#

B~m7

"""/11 .110 i ~~-{r ~ * ~ . I"" I.-
u. ~ .. .. • _III ,.
• .. .. ~'~ .. #- .. ~
r
,_ .. / .. .. .. _
.Ii .. .: f JJ !J f f f :: :: x
" .. _A .. " • .. !ji !ji x x V
" .. .. " - , v v
~ .. - .. .. - -
.. .. v , , u v v G#/B# B~/D E~13 B~m7

B13

E7

AlGi!

A

"t~ .110 ~ ~ . ) ~b~ ~ :::::::: ~ifJ.r,.r-- .Ilo ifJ.
.
• p. Iij" '-" ~ r ~ ~J ~ - ~~ =
"'-- - ..
'I' _A x x v
! ! v X X :: .. v v X X X t
Ai .. v X =: v • • V •
ft _ V , -
g - iI V .. ~- . .. .. ..
v , v .. '9 V
'-._./ E

AlG#

A

E

AlGi!

A

.".,,/,., .Ilo ifJ. -- - ~.~
• - qi~ -- = - ~~ = - =
.. .. ..
,---.
T v '~ v v .. v
! .. v v X ~ ! v x X t
Ai v Ii v Ii v Ii v .
ft -- --
W A .~ ... A A _
.. '9 V .. .. v V
"--" "--" .".,,/,., .Ilo -It I==ii _h: ~. ~:!: J,,_ _h b~ j l-r-== I .... ...
• = = ~ ~ tt· -- -r- ... ..
.. .. .. -= - If
-
.. ~ .. .- _A ~ _.._ _.._ A
T v v '" _ .. x x x x V . Lo _A J , ..
! .. _._ oil V V V oil oil " U _ft.' LA X !~ !li!
_A v I V IV U .V IV
ft v v IV
g _ -
v v .. iI U v V V E

[9

C7

Fat Lip - 5 - 2

79

m13

G/B

B~/C

Bm7

E7sus

_,III tr - - • -.; - r--- ..-... ~ #.0 ~~
I •• .. .. _. • ..-... -= ..
• ~' In! 11 tr- ill .. ___ ... .. ~ q.._... ~- .:
tr A~
T <II ,
~ ~ ~ _ .. ~ 2 2 2 ! '~ , 'v
4 o ,,;:r) 1- 1 :. t !. 1- !.
.. v v .. ., 0 0 v
g ...
v v v I 0 'U' U F#m7(U)

B13

2nd time to Coda -$G#/B#

Guitar solo C#7(open)

~II~ -
1t. ._ .. • ~ ~ - +-r: ,,_r T .,
• i~~"l _[ 1*" ~ ~ # ~ ~ __ ~ I--...._...... .... J .. "--I .... ....
~ . L..
~ ..._....... ~
T
~ '- IV, :! :! : T
A ~ ~ ~ s :- :! 'v : '': l!
... ~ v 0 <II I <II I <II 0 <II I,
.g ;:r A .. .. ~ .... A \ A , A
;:r - ;:r , .. 0 <II <II ;:r <II iI
--- ___ *

harm.

1/4 ./

./" ... -+!: - .-... ~~ ~ ~ ~~
~ ~ .., .....-;:-...
"
tJ '-" -- ~
1/4
harm. A J
T ;, - ;:r ,
- A
4 A A .., ,v , '-' l;:r
--", '2 '2 JJ LY.n: .ll :! ! n ! A ;:r "
g ;:r <II I '" 't- '" <II <II <II 0 f'"
- - \VI
* Place fm er directl over the 6th fret. Soundin itch: Dq &

y

gp

_,I, .. 1t ~F :f:.~ q,a. ~ ft,--ft, I;,e.~ .~ .,", .. ,"
~ __..., ~
• - -
/ "-"'A fA' ~ ..........
-
T , <II - .- OA A <II 1\"'1 ._ A / '-
! .A ,,,. ,~ '" '" <II " A A
4 , .. I , _\ II) <II ~ II 11,1-, iI
-", ~''L II
g
./11 .. +± u, ~~~~ . • ~
.., , '-" '* "I "-'" ~.-- -
1/2 ~1!2
'"
T 1,\ ". LA
! 1 \ ,. .~··.L '"
4 1 II <II
-", \ ) A " ... .A. .A. ~
g <II _'- <II I .. ;,
- <II , iI __
<;» I,""

FatLip-5·3

80

"/11 ,Ij. 011: ............ _/ --1. L _._ ....--;::::::::
u, -_,- ~
~ - grad. bend -
J Ij2 1 1/2
1 L ......
T / _l_ _l_ /'
! A .: ..-' "
A " , ~ " ., " ., , " "
ft " ,
g
1/4

.,/~ ,Ij. 1t "..-.' ~ ~---.~ ....--... /
~ .. ~.~ ,._ ~ _._ -
~
b 1:4 -
T .~ ., /
! " " \ 'I .. .. ,. ,"
A .. 'v .z. " "
ft '-' "
g .,/~ .. -H: _./ - 'b. ,-,_,.-...; - ~ ,--.... '\ol.~
"
,
._..
• --
~ '-J_; ("*) --- t1*~ -
} 1/2 Ij2
»: -
T I .. '''_ /
! I -" " I''') ,~
A A 1 " " ~ '" ... v ... _;{ 'v J!I J <, "
-", .. , &0 .~ &0 ... " -"- _.. ., " I \ 1/"
g 'I - v v " _l_
- ./11 ,Ij. 1t --;::::::::---.. u ... ~ ~ • .P.~ ~ ;_ ~ ~~~
-
~ - r-_~ === ... - t..r-r
} ~----) .......
T / / x
!. " "
A , "I ':! ':! ! ;{ '" , ~ x ,,, 1
... ., ., ~ ~ I " " I "
g _A
., " ~ ., harm.- - -,

Sounding pitches: B E

Fat Lip - 5 - 4

81

harm.

r-/, .. 1±~ ~ F· ------- ~~ ~~~ ~.
.. - - ~ =
»: .... barm.
ft ,.--....
T ../ "\ OJ .. v <, " ..
r , ; ~ _.._ .ft
A \:1) \:1) , A ~ .. ~ L .. ~ .. _ .. OJ
... :I , .., , \_~ .. ..
g - - .. ..
._.... So':ding pitches: ~
E ~--:-- I~ ,.', :: ,:0.
,/, ,jj, of! .--... b~· • , .... , ,.--....
.,...
.. =
1/2 hold - - - -I 1
.r>.>: ..... r>.
,.--.... ,.--.... - harm. - - - ., ~
_T " .. ., " \" ) .. .. " I" \ I") I • ,.
! ft ., 01 ~ '01
A " . !.
_n ,
~
So~ding E D~
. . harm. - - - .,

3

8va- - - - - - - - - - - - --

pitches. B A

-

loco *'

t=

~----------------------------.,

-

,ft

'A

'A

T

'9 ,.

,.

,. '01 ,.

,. ,.'"

'01 ,. , ..

'01

.. ,.

~

,.

, .. Lft_

'01 ,. '01

'01

...

C#7

B13

G#/B#

~ .. tr- - - .i-::
_,III .. +t: • I u, I I . ... ... ..-.. ... ...--.... • • •

-.J ~ .,. 4 .. - - ~ ..... ... p .. _
-
tr-
T 'ft. ft .ft_ .ft A A
! ,. OJ ::: ::: .X. ;{ A
A OJ 'v ! J ::: 'V) /V ~ ~ ~ ~ f
... " " :I \ " :I , V OJ
g -- ~
:I OJ OJ • g :I Drum solo (open) cn

D.S. ~ al Coda

'/, .. of! tr ........ "- . ,. .... .. . 24 ~
----------- .-.--:----.._
• • •
-
-.J __ -& _____ -& ___ -6 ~
tr , ........ ,. ........ "' ....... ..... .. .. .. ..... , ....
T :1
! A 'A A
A ! \ 'V) ! \'v) ! \ 'V)
... I "I I " I'" I
g A " '"
'" OJ "', :I ~

Coda

Freely cn

~.,(II ,jj, of! tr ... ~ ~ .~ ~ -& -&
• • •
--
..; _-& ___ -& -&...____....-&
p<f
tr "' .. ....... .. .. .. """" .. "" .......
T 'J~
! .ft' H
A f \ 'V) ::: \ 'V) :::I\'V) I:!
n OJ OJ \'" '"
g A. A
'''', ,:I , .. ", Fat Lip - 5 - 5

FAT LIP

A Scofield record just wouldn t be complete without a funky number. The head moves through three key areas: C :j:I: , E and C, respectively. You will notice that the harmonic language of this tune is blues influenced and that the key signatures are major (ionian) but the music sounds otherwise (mixolydian and pentatonic minor) - this is simply a modern convention.

The intro is a vamp based on G1I. The G1I section is a 7 bar phrase with some heavy, syncopated band his that 1!!:fSh into IHJ. This section is brief and leads back to what sounds like IA], but is actually the lQ section, a half-step lower than G1I, and only 4 bars long.

The guitar solo section finally arrives back in C :j:I: , and John lets loose with the Rat (distortion pedal), throws the switch to the treble pick up and takes a complete left. This section is open form-wise and grooves in C:j:I: until it goes (on cue) to the key of E. RJr the C :j:I: part, John is digging in hard and keeping it simple using only C:j:I: mixolydian and C:j:I: pentatonic minor; mixing them together along the way (i. e. bars 10 and 11 of the solo). John's rock and roll roots are in plain view with stuff z. Z. Top would be proud of in bars 1-6 and some funky blues-rock rhythm guitar ala Johnny Winter in bars 14 and 15. In bars 17-24, he pulls out all the stops and spews out some hairy harmonics (a relatively new antic in his playing, he claims). These are somewhat random natural harmonics found in and around the 3rd fret area of the low strings. This section in E is marked bya heavy use of E pentatonic minor with a passing b5 (Bb) in bars 20, 21 and 24.

83

WABASH III

Medium fast

~

Composed by JOHN SCOFIELD

~
.. ~' ~'~ ....... - .... Yo ~~ ...- "1-
'-"
0
0 . .
. .
..... ~ I ... I
.. -- r , ~' ~/~",.", ......
·
. . .
. . .
....... r-" - ... I - !t:. ~ ~ ~
.. -... . ... ... .... \.)
·
.
. 0
~ Fine rID

r-" r.. __.....__ .. ..n~
.. r
· . .
. .
~ ..... " --0 1:1: • .- ~ .. ---:e.-----~ .. : ~ +0
..
0
. 0 .
. 0 0
....... Wabash III 0 Lead sheet

Copyright C 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

84

SINCE YOU ASKED

~

Slow

Composed by JOHN SCOFIELD

_, 1 3 r-r- ---, 3 r-- 'l 3 3 :>
t. .. ~ ;~ > ~3---' .. • .. 1
"" 3

3

I]]

To Coda-$-

3

3

~~. 1 ~ '--3-.. r-oP-. _.;:,.....,
.....
t.J - -~ ... '-' .... !3-' 3
..... _, 1 ~ ,.",,;; 3 .s, r r. -, 3
t. "'P4 ... ~ ;t ... ~ - ~3_J
..... 3

3

3, 3

3

r-" 1 3 :> ~ r3l
i
t. .. - ..... 1 . - - -4f" -- ....
"" -$-

Coda

3

r-" 1 _,> J r I '? t:'I
t. .. _, .. '-" ... '-' ...._ .... 09-
em
r31 t:'I
~
"" _--- r 3

Since You Asked - Lead sheet

Copyright C 1990 SCOW A Y MUSIC (BMI) International Copyright Secured Made in U.S.A. All Rights Reserved

85

SO SUE ME

Fast

~

Composed by JOHN SCOFIELD

_./ 1\ .. . . , ~~ • • I. ~ 11:. ' .. ~~.
.., ----3-J - ~ L-3__j I____C_ 4 __j
"
~ I - > I 1.

2.

_./ .. 1I:."i. - - ~ -
.;-::: -" I- ~ -""""- -
t r - _J ~ r ... c;J r

- ,.- r-,
~ I I ~" .. ,-.. ;. _ _ t- t-'" "'-t-"'_ f- .1. ~~ fL
.
tJ r I I
-
·
·
"'" r _./ .. 'fL ~
t ,.. I .. -..._...- - I
,-.. -.
""" I r I I ,.. I I _./ .. ,-.. ;. • • • I. ~~ - _ _. .~ .p.
t r I L_3--.J l__3--J L3_j
~ .1.. _l .L ,-3---, r3~
·
"'" ~"" ;;r. So Sue Me - Lead sheet

Copyright C 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

86

LET'S SAY WE DID

Composed by JOHN SCOFIELD

Slow

r-/" 1
-
-.J 1 I 1 1
A~maj7 B~7sus em7 A~maj7 B~7sus em7 A~maj7 B~7sus em7
1
.
.
"" - -- -- ~ I 'I --, -
.. I ... '"-" '-
A~maj7 B~ Zsus em7 A~maj7
(walk)
.
.
.
..... r-3

r-/ 1
.. '--'" - '--'" - ~ bjU. ;1::: ~r ~
F#7
.
.
"" ;;r!!! <:> 'I'i'(;I .. <;:» >

~ 1
.. 'f ~ if ~ 'f ~ I I
A~maj7 B~7sus cea A~maj7
'" !' 1+(;1 • '--"". 1+ (;I • '--"". 1+(;1 • '-' ,..;" 1 I I • s
-.J I I I * *_ .:!" <;»
B~7sus em7 A~mqj7 B~ 7sus em7 A~maj7 B~ Tsus em7 A~ maj7(# 11) B~ 7susCm7
l ::;.-._
.
.
'" - -- - To Coda -$- D.S. ~ al Coda

Ad lib 010 Play 4 times

~

Coda

Ad lib solo

,."" 1 1':\
..
A~maj7(#11) B~ 7sus em7 A~ maj7(';. 11)
>- >_1':\
.
.
'" Let's Say We Did - Lead sheet

Copyright C 1990 SCOWAY MUSIC (BMI) International Copyright Secured Made in U.S.A. All RiJdtts Reserved

87

FLOWER POWER

Medium waltz

~G

*"hO: J.

Composed by
JOHN SCOFIELD
C D7 G C D7 G C D7
I j: #i: II #0 ; I j: #i: 1#0: W- I j: #~: G E A B7 E A B7
~ II d· #0 I.
d::_i±d: J. Id: ,~: II ; liP I )1 #i
# . ffi1
E A B7 D#m7&5) G#7 C#nuzj7 A
~ I #0 ; IJ #J. I,J #J. IJ. ,J II,J p. II P #J F#m7 EIG# B~m7(#5) B7sus C#m7 F#7
* J. #J. I,;' J. I !r· (qJ. I,W- i:. J I#J. ,W- I,;). II
#Jl E A B7 E
*,J J. IJ #J. II ,; J A B7 E A B7 E
I J ,J)J. II ,; J IJ #J. I J.. I J I II
......_...... flower Power - Lead sheet

Copyright C 1990 SCOWAY MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

88

STRANGER TO THE LIGHT

Composed by JOHN SCOFIELD

Fast Intro:

Play 4 times.

J

IJ

: II

..-''1
t. b?f ~ "'!rr ~ ..,; ... II" .. W ..,; "'!rr =;. .......
...... 4 I I -6- I 1"""'1
,
t. 'ii'. ~. ..-4 • .... ... ..

I I -6- (;,J ~ 1"""'1 I
t. .. .... ..... I r r lTd ""T ...p..,; ~ ..,; ...
'71'
.
...... I 4 c; I 4 ..-' I _l
.'
.. 1/" .. b?J ~ ... p..,; ~ ..,; ... '!i''' ~ .
I
u
..... I ~ 4 ~

Coda Play ~ melody & fade

-J II: J 1 liT I,J

I

II

Start with this and evolve!

D.S.% at Coda

112. t:I

r : II I",

Stranger To The Light- Lead sheet

Copyright IC> 1990 SCOW A Y MUSIC (BMI) International Copyright Secured Made in U.SA All Rights Reserved

89

NOCTURNAL MISSION

Composed by JOHN SCOFIELD

~ Slow

~ I I"""--.. ~ I I t\
.. ... ;i ~ • r' ~~r • II.' '--
Cm7 Ai1m7 A 7(# 5) Dm Bi1m
I
,
,
""'" I ~ 1\ I I " I I I I I - ~ r---1 I
"
"
.., '-._/ • ..._...v IIV 1 '--"I
Cm7/G E7(#5) Bi1m/F C#m6 D7(#5)
..... ~ v I ~I\ I ~
,
.., 1 ..._-r ~ ... ... ,+~ ... ....,. ~ •
4
Ei1m Ap 7(#5) F#7/A# B Cm7
..... ~ 1\ I ,......_ ~ I I ~ I
.., - ~-r • II.' ---
r' Fine
Apm A 7(# 5) Dm Bi1m Cm/G Cm/Bi1
t:'I
""'" I ~ I ..
,
.. ... II· IT-' ~ II •
(C Phrygilln) (Bp Phrygilln)
, ,
""'" DC al Fine

"This section has no written melody. Ad lib. melody using indicated scales.

Nocturnal Mission - Lead sheet

Copyright e 1990 SCOWAY MUSIC (BMI) OOIntemational Copyright Secured Made in U.S.A. All Rights Reserved

90

FARMACOLOGY

Composed by JOHN SCOFIELD

Medium fast

~ I
·
·
.. -"f-"f • -"fV. T ...
mf
.
·
"'" ,./ I - ----, ~
-.J v· -
. . . .
. . .
"'" ,- 3 ----, r-- 3

Last time to Coda -$-

,./ III I -
-.J '"" -..1- -"f-"f .. .. (U)
.
.
..... {!t

Coda

~" I /':\
.., .. .. TT .. .. ... "IT
• /':\
. .
. .
..... Fannacology - Lead sheet

Copyright C 1990 SCaWAY MUSIC (BMI)

International Copyright Secured Made in U.S.A All Rights Reserved

TIME AND TIDE

91

Slow march Intro:

Composed by JOHN SCOFIELD

~" (ad lib.)
-.J ........ ~-d .......
Fm7(#5) Gm7(1) 5) A~ Bi>m7 Fm7(#5) Gm7(1) 5) Ai> 9 Bi>m7 Fm7(#5) Gm7(1) 5) Ai>9 Bi>m7
.... .. '--' .. '--' - .. '--' -'''
~ .... ~ ... ... ... ... .. ....3' ..... ~-d ........ .......... ... ...... ..,,~
Fm7(#5) Gm7(1) 5) Ai> 9 Bi>m7 Fm7(#5) Gm7(1) 5) Ai>9 Bi>m7 Fm7(#5) Gm7(1) 5) Ai>9 Bi>m7
:
.... .. -- .. -- .. -- "-' To Coda-$-

-''' -
-.J .. -..1"-' .. ..... ~ ... ... ... ..... ....3' v"-' •
Fm7(#5) Gm7(1) 5) Ai>9 Bi>m7 Fm7(#5) Gm7(1) 5) Ai> 9 BI>m7 Fm7(#5) Gm7(1) 5) Ai>9 B~m7
:
.... • -- .. -- - -- ~" I --
-.J ..... ~ ... ... ... ... "'-..:$ > ~ .. I ~ ..... " ., ..
Fm7(#5) Gm7(1) 5) Ai> 9 Bl>m7 E~ Bm7(,5) C7
:
'"' .. -- - To Coda-$-

~" I -
~ ..... ~-d - ...... - ... ~ ... .." ... ... -.._: -J"_" •
Fm7(#5) Gm7(\>5) Ai> 9 Bl>m7 Fm7(#5) Gm7(1) 5) Ai>9 Bpm7 Fm7(#5) Gm7(1) 5) Ai>9 Bom7
:
.... - -- - -- - -- ~" - r-- > utona so as
, -
~ ~ .. 1" .. I
Bm7(1) 5) C7 - Oim7(!.5) D7!tJ1S (B~Aeolilln)
:
'"' r > -- D.S. % al Coda

Add' . I I

-$-

Coda

Ji I:. J

Time And Tide - Lead sheet

Copyright C 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights· Reserved

92

BE HEAR NOW

Composed by JOHN SCOFIELD

Free time (Moderately) ~I\

.... ~.

-

I

I

I

[___13___j

"I

I

I

I

3

3

3

3

no pause

3

3

3

3

3

3

3

To solos
2nd time Fine
r---- 31 -----, t:\
- I I I I
... .~ . I I "I
l__3____J
t:\
I I I I Be Hear Now - Lead sheet

Copyright C 1990 SCOW A Y MUSIC (BMI) International Copyright Secured Made in U.S.A. Ail Rights Reserved

93

FAT LIP

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C#7 B7(13) G#/C# C#7
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--. Medium funk

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Composed by JOHN SCOFIELD

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B7(J3) G#/B# B'p m7
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A/G# A

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Bm7 E7sus F#m7(II) B7(13) AI1/C Open solos (C# 7) C#7
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...... - 11

112

Fat Lip - Lead sheet

Copyright C 1990 SCOW A Y MUSIC (BMI)

International Copyright Secured Made in U.S.A. All Rights Reserved

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