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CON'TENTS
INTR'O'D'UCTION __IE R"II::'O'-' R' M' A' NIC' . P I~- ~_,-_· PA Till
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'TABLATURE EXIPLANATION

BLACK MAGI~'CW'OrMAIN
SAMBA
SHEj,s, NOT 'THIERE

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14

22
2'7
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THE .HIEALIER aVE COMIO V'A

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33
38

EUR'OPA
EVIL 'W'AY-S PERSIUA,SIIION

43 48

ON THE C,D
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The CD is s~lit ~mD seotiOJl.'£; ,ooc1lion 1 ~tra~k5 ~",0) ~, the. 'back:iIilQ 'Iracks rnirms lead QuUtar8; vocals, whi~e s~li)on ;2 (~racks 9~1 i's,~he Mo backimg 1racIG,wilh all gu'~ar parts ,added so iin add[tion to the mitteru tab you CaF! hear the ~hrn, fills and sok!s ,61$ Urey ,s1hou~d e played~~ b

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WARNE,R B,ROS" PUBILIICATIIONS,~ THE GLOB,AL LEADE,R, 'IN, PRINT IIISA 1 ,':;'u O NW'" -~ '11. I M.VenUle"I,vdamll, F Iw. 0 1 ill ili::8lini .'. . 48"h A, . 1\.11' ." I 'iIj,3' U.-: ..
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ITALY: VIA CAMPAM!A. 1~ 20000 SAJN GijIIUIJA~O Itdlu.JNI~S~ - Mi LANO SPAi N: lMA.GiAtiLAj',\jE,S,., 2B . 2.801 S MADRI D ~MQLAMbJ:: :SOIJ!H~~b) FlOAO WOO~FORD GREJEN. E,GSEX lOS aHN i-RANCE:: ~5, AUG: C1!HA,tJ~V1IIL.LE, 75-01 (:I PAAJIS GiE~J:tMAJNI¥:MA.RSfALlLSift ®, MOB3Q MLiNDH~N' DiEiNMAR:K': DANMUSI K~VOBNM#!iGI~RGAOE; '7
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CJiJ.,!A~i\: es SCA~~!lAL~ I1"t00bl, SlJ!1i~ 1~1 lOO~ MilLS. ONTARIO" M3~ 21R2 ,OOANIDINAVI'A;lPO nox 500, V~NOEVAG!~N as EJ.
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Esse.'(, I,G6 81-1 IEng'land NI, AI! !igh~, !~~!vedl

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part ,of thi\s,Ibooik ma,y be pho.)l¢opiad or t'elpr-odiU¢adl any WaJij ~i!lhou~' pe~,mhssiQn. ln uses: ar,e 09.f'I!inffrngeme!:"!~,of the, US" CC\pcyright Act oS.f'I!dlar,e ~l!inishSib!e by. law.

of ~~ compositiof'!<S, co:mai!'!!~dI i n 1111$ oll~c~iO!i! requires, th€' wrilitetil COi"i$€fiIt of 1ti'!1@ o Publlsh€·r"

MUl$iC,ar~ang,ed&: lP~ducoo by SlliaJrt BiJl~a.~d Soov'$ f-inc~; R~oorded ,ird: me TOTAL AGCJURACY SOU NIDHOLJISIE,. A»mrord, EtilgMmdl, StUaJrt !3uII~drums, R!!Ct1~rd anett gu~ar; M~ As.lh;bass, Pe'~ Adams~ k<~y\bo~uTd($. 5

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lntroduction
'Ihe T10ITAl ACICU RA:C'Y ~,JAM'W~TIH.".' series, ls ,8 powerfu ~ ~e,arn~ng I that will he lip you too extend ~/O'l~r st'ookpi~e'of Ili(:ks and fi,lhs and develop your improv'isa'tionals,kills., the comblnatlon at m u s ioal notanon ,9 nd g uii'taJ tab Ietu re in the' book to get h e r w'i,th baoki ng tracks all the C D ,g~VGS you 'the opportu n~ty to lsarn eaeh track note for note, and 'the n jam with a profess ion aJiss sslon band, Ttl e track, Ilstl ng reflects so me of Carlos Santan at's most popu lar record in g8: provld in 9
1,

sorneth i119 for 9 uiima rusts to have

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w~th and imp revise with! as wel I as so metbl ng to aspl re to.

The fi rst ei'ght tracks on Ule Ie 0 are, 'yuill~ IFlgt hi backij ng 'ttraelks recorded min us' Iaad 9 uitar, Thle 9 re mai niing tracks, rea tu re the backllngl tracks witn the lead 'gu lta r parts added. Although many of
j

yo ILl wm h avs aU the oni:g lnal tracks in you r own coil Iect'i 0 n, we have provided th em in til e paekaqs for you r rete re nee, The iJAM W~TH ,... se rles alii OW5 you 1.<1.' accu rately recreate the origli na,!, ow to IJ ae the t r,aln8cr~ on sin th is book i til C,O nj unetic n with the backi n-g treoks as ,a basis for you r own ptl improv iisation. Fo r you r ben eflt we have put d ef 11ite ell diinqs on th e back] ng tracks ~rather th an fad~ng th,ese out as h~ tih,e case 0 n som e ot the 0 r!g~ nal record Itn'~IS,. The accornpanyl ng transcrjptio n 8 correspond to 0 ur \Ie rs ions. ~,emle m be fl sxps nimen ti n 9 w'lth yo ur own ideas is eq ua Illy ~ mportant for d evelnp ing ynu r own style; most im portent of a.ill~however is that yo LI lenjoy

,JAM with CARLOS, SANTA,NA and HAVE FUN! pii 0 near of' A'fro ..Cuban rock and later br-oug hrt so Imany styl as into his p 118rying that he is how n~;alilyqu lte iim possible to pj'geon-hole., Carlos broke new ground ill Nl'E= 60s and s~ nee til en has ,aJwa.ys been at 'the' apex .,O'f t h,€): San Francisco muslc scene. ~ de ed, n elmost eve ry weill kn own 9 uitaris,t: cites h im as, a, maJor inlfllJ e nee.
j

Carl as, Santana

W,QS, t he

fa,ther~ a, tred iiUonal street vlo Iin lst, Later, the Bantan a ·i,almii moved to Sa n Francisco where he Iy was irntrodluoed to rook a nd '01 ues, especial Iy the 9 IJitar .sty~esof B. B. IKing all d Littl e FHchardl and tin is he did Q'et in tol lt was here also that Carlos met ke;yboa.rd player Gregg Ro,l'iie and with him tormso The SantO!na Blues Band in 1 96,i whiclh 'was SOD n completed by Tom Fraze r (gu ltar) D',av~dBrown (bass)' and Rod Harpe r (d ru ms) but this ~n e-up w,as. to ch ange mre quently-. Inits i 'olrigi IIIa II~ncamatlon T~ e Santa,W1a 81ues Ban d was, a group ot eo uals 'wiith Car~06 named ae band leader on ~yto s,atisfy a Mlusj,e'i n s U nlon rEH:~U rnent of the ti me, a ire
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Born on the 20th JluIy 1947 Carllos grew up in Tijuana, Mexiico,~where he was surround ed by t radiflonal Me:xii:can m us lie whi,clh h e ~ust DOU ~d not get: ~ 'to, m UGh to the d lsappo lnt men't ,o'f h~ n s
1

1

With 'the ir name sho rt;iened to Santana, the ~ rs putati 0 n gr-ew steadii Iy res u It~ ii n 'the,m beiiing r ng si gned by Col umibi,a R!ecords and reco rd in'g thel r deb Lit al bu m Santana ill 1969, contai 11ing Evl{ Ways and Soul Sao.rifice" The folillow-u p a Ilbum Abrax.us' incl uded the c:~aas,ioS8mba Pe 'Tf ,and! th e Pet,er Gree n penned Black Magic Woman. For the first tl me Af:ro-Cuban rhyth me were made access'~b~e, predominantly white aud lsncss with ·the, medii urn being carlos' r,e~axedand 'fluld, to alth 0 uglh when needed iincw,ed ~bIy fiery] g'U'itar wo 11<.
J

Thel r appeara nee at Woods.tock and su bsequent ~ U 6 lon in 'the tri pl e album 9 ave Santa na 'the'l r nol m ajlor b reakth rOUlgh as we ill as. be ilrlg 0 ne ot 'the, hli glhl'iig~ts of thl9 fe\stlva,~. A'tter ttl res hiit ,aJbums 'w~th Santa.na.,~ Carlos released a I~v,e duet alou m with vocalist and d rumm ar Bud dy Miles fol lowed by th e 'IOU rth Santana allbuITl Gara vanserai. Th is a Ibum marked a. deli nlte ehanqe of style as (3 regg lR.oUe and N eal SC~.Qnleft to fo rm Jou rney and 'C',arlos dlscovered ~elili ii0 n thlrougih g the teac h in gs of Sri ;Chimnoy and too k a n add iti onal f6'1 ig iCtus,tJ1 anl€: - Dee.v,ad ~p- m,eanii ng Light 0" The Lamp ,Supreme,. I'tt was th is 'that b ro u g ht Ca,rlos 'Eog,ethe r with John M,cLa ugh nn~a f'slllow Sri Ctl i!m~ oy d isc:iip~€t TOQIMher flfh3Y ~eoo~dedLavs~,D,~'V()tjonf SUff€ndera duetted iinstnJmental flj,llbum" The fo'l~orwing year a ft,er the re,lease of: ,ano'the r Sa,ntana stu d io' allbulm WeJeom'e ,and a ,Greta'test Hits, C,a rlos
j

se 'from" t' ~ e D.hang e the' tone ot th e 9 IJ ltar.J .'ttr~tngl be 11ds..' F G' G':#"A' C:·) '_ " .' •• The chord w'Qrk is very rhythmic. . small biog rephy s uch as th ls. used th roug h a. raco rued.ar solo has a si m itar 'the. Pau I Speci a[1tlhro ugh a. l. "" " ~ _ " 1 '" . prison irmates.sa Boogii e amp Iliifie'r."1.. Am iin7 and G ml~ 7. j The outre ~ sl m ilar to the intro ~usl ng th e same type of 81J stained notes.sarn and enJioy~ ~Ina..edlb.~ stadl urns] 8 mall ven LIes and even fa r charltl es = n liive Aid" di'saster beneflts.ysOarlcs unique.' '*hoQ instru ~l1. 'thiis version has a driving Bossa Nova 'feel.that does ~ot lnolude the aloums he has'cuested on~ Carlos Santana. The Ilists of shows .e'UlIS guiitalF is doublle tracked] usiing occaslonal harmony notes.a_ bar. J have bee tJi ove r sn re leases us ~ngl] ust the Bantan a and Oe rlos Sa ntene nemes .s then fol ~owed by a staccato me Ilodly mi with not too. '. n o ~..elr.alU~ .els Not Th'ere ~n ~19'77' ano achieved the~lr biggest U.lthoug 11 there ere a oou pie of reterences to the D netu ral m ino r scale (D :i' E~. u n~ son bends.. at the beg'i 11 iitlg of the track ~ but plays n th ro UJ gh Ule oho rd prog rsss ion twice.. C'[ Steptilen StHIs The' Orateful Dead and Joen Baez~ Santa. Thii s ki n d 0.aok! sqUlee~iing the' most from eacb and every note. 1[:.".s P'. The ii'ntl~o . WhOi'S who of music .~ntQ'11 Ib ~ -ml !.:. musl C Olresding 'gltrOU nd of ~'60sCal ilIarnii a.?. His h ~storyreads Hke a.'wintth an other devo . T'oilo-wing an almost tz-bar minor blues proqresslon D m irf1. After'tthe..'~ .. At: th e end of 'this ss etten th e beet picks. There not. Once 8. Samba P.~ U. Th is t rack was pr-obab~ypleyed 0 n a '8 ibso tJ1 Las. _ ! . IL" v ~'J Afle r 'Two more al b um re teeses enc some [hig hi prof lie concerts with artlsts 5UC~ as Bob Dyh:ln. sustain and f'e. a. : C a . vary! ng betwe en a searl n9 ~ sad tone a nd by contrast .~[1f' the verses. Tlh. j ~I" ji c'.·. As tlh is. e rld~ witfJ1 ne. Tom Coster.e to the one.1 Shrlevs." . add in g a.. Graham Lear and IFllo ra P IJ rlm. up with a daub ~ettrne feel and t:~e 111 ellodly Iine becomes more exp sri menta II.II: m1n !!. . ts one air th. Th iis patte rn is..~b<' •.E.I' iQ.m. ~e. VII Ill~ .'~ ti c .K. most prolific artists to have come from 'uhle. AUG. General Iy 'the dyll aimiics s or the amo illnt of d lstortl on present if] th e 9 UJ ita r tone a re c hangled us inQIt~e 9 u ltar's vo Ilume cont roll. btl-' e~ scale '.1 statement of the melody a short section fomlows ~wh.F#).J _. U~. few hiigh reg lster notes wit'L\o"II p hra.s book: contal ns eJglht tracks! so me wruUe n [by Carlos . _. would fill[ a book on their own. ..Iv1".' (0.. ng a slow' 'rake' across the Oimin7' chord and a pause be'fforethe solo guitar comes lin. Car~os uses som e unusual rhythms i~1his ph ras ingl.siiing The mai n gluiiit.Speeiial wnh stlrin 9 p u 11- the bridgl8 pij. i~itii'a..91ly audi bile clean tone. . Thii. modif~€dl Fend e r Prl noeton -0 r Me'. 'Ttnis 'tlme. "' 'V ..sd up. . butt ~llill oone Iin t~ at Blac:lk Magic Woma[n Teken from 'the' Peb~r Glreen classic. hlt.. Th is i...oltra na o rec:·0.and some instantly recoqnlsabls Santana style. use of.g. as well as rnelodlc sxp srl mentaf on. The gu~tar 'was probably a Gii'bson Le.T~ Thli s tu ne iis a.. ~ s Ii.y ing vari a lions 0 tJ1 th Q vocal mel ody. t'9C hniiq u ss ~ii ks . rd.9 9ultal(s '10 Ilum e co ntrol is m freq uent~~lused to (.s._ .:'~'. . This is playe d usl ng th e neck plcku p and sta rts by p II .'1' P lay~ is so rneti mes n~'~Q ng rred to as 'p lay! ng across th e beat'.I. F~ A~.. Alii ~t11 ough th ls track classic r ofts are used. Th m ~JghoUl th is track th e seal e used is 'G mejor I(G1A~B:~C:~D.. a secto Ii1 eontln ues the ilmprov'isatlon becomes more adventu ro u S.i and OPQ Ii. m IJ eh .ga i n the [) b ~ues/miinor p entatonl C scale is used.c'k-up .na releesed a cover of The . iit is i m possl b lie to iiist ev.rythii ng Ca rlos ~as.s. ' . ] 'to _'V.e.Carlos' guests and band members have included Mliichas. .. me li~OW~nS1trLl ental 'wiith str-ong ms ~odic co ntent.::I!IL_ _L _ QJ..:.1t81a. G~ B b 0).dlisplla.Z:ombiies~ Sh.m. _""~.te··8.diisto rtion.

ring the last phrase 0'1 this first section.I i IQ'Y'-e' IC'orno 'V' • ".aying close. but this ~s'not surprl. 1 T'h. Amerlcan feel Ttl is nac k was.EjF~iG:). .ect.A C). the ampllfler was probably a Fer11de r Princeton or Mesa Boog' le. and continue through.C"D . track was most mikely played on a Yannaha SG thr.itl1ga raunchy sounding 'd1oub~estop' Ilh.es Paul Special fhro ugh 8.based around the A natural miinor scale (AlB"C'~D. contain ed i1111 the.s~ng as the C minor pentatonc sca. turning oown 'for less distorted parts and up' for maxmum sustain.sp. Having said this the playing ls very soulful and dynam~c:..ElbllF~G~.~with occasional references to the D natural rntnor scale (D'jEI. Du rl nl9 th is <Dutro section 'the' gUitalrl.G ml nor pentaton lc scale" 2 Th e next sol 0 is piayed with a sh riII sou nd th ro IJ 9h a wah peda II with a short '5 lap back' ech o.8b) is contained whoUy within the C natural minor scale.ajn based a rou nd th e A natu ral ml nor scale occasionally on usingl notes from the A blues scale (Al. T~"e solo often makes musical references to the [) chord by includ~ngan F# w~ich ~s'not In th. n ext section lis· ptaysd w~th a. using the C natural minor scale (C1D. G minor pentatonic scale (G. The beat picks up a ~~Ulle hiera and ~hesolo teatu res som e fast bIu as Ileks w i'ttl wid e strl ng bend s.FJGl. but is. and befor.. '.F. s~lmlilar vel 11to the. The. i She's.gi ns 'wl1tha ~doub Ie. i j' a.of the' sound. thJs Ume w~th some trem el 0 arm . 'The solo kicks in u~.Bb. . modif~edl Fender P ri nceton O~ Mesa..a"n.Ab.. to 'the chorus.ly alorJg W'irth the· nhythim of the back~ng muslolans. pr-obably p~ayedlon an ear~y Pau I Reed Srn it'h g!uiiit.le.F'G~. (OJEb~. Once ag._. mlelody.~G). .AI.Bb. This..C) . til roug h a vibrato -0 r fast choru s efif. I _ . Europa. stop" ritff. ID chord. 1 The.s·eh3. .a th roug hi a r am p Iliifiewo.~ ~o'l1gCarlos' di8tiinctive solo quitar can be.~ ..After ttl e vocal SEH~ti the-reo is a solo ag. Th~s track W'QS p robab Iy played on a lPau~ R81ed Smith guitar through a.onad guitar takes over once agaiiin he re in a.. treated wi~h reverb all d a short . After the final vocal section ·there is a short sollo in a similar style to the f~rst Ulsin'g repeated melodic themes" pl. usually Ilow'9'ringl tlha pitch Irather 'than using it for vib rate. heard ~mproviisin. 'fi rst section and the feell becomes sl ightly more brls k. I·t be." .stimes 'there is·a pentatonic feel about me solo.effec'ts.ec:~aJly du. Boogii e amp Imfier. just on the edge of diis'lortion. is very melodic.: _ 'This track opens with Behind fhe 'V'elrse there is some sparse chord wn~k~based around the Arnin7 and D chords.Not There This track ls iin the lke. Thi s section uses mainly the C minor pentatonic seals. .delay. The dis't.-n ~e8ping with the lLatin' Mesa Boo glie .g around the D' minor pentatonic scale' (D.lk_.sed hom the.Bb). .: ·:a·-· .i n is the G m ln 0 r p entaton lc. Ttl e scale on oe aga. ~h is atmosp he rio iinstrume ntal f'8:atu res Carlos' sea Ii n9 lead sou nd.F).y of G minor. lntroduolnq some solo guitar fills ~nthe· second verse.a previous y mermoned scales.. [. Mesa Boogie amputter. Som.s volume control is used to cilangle the dynamics . Late r in the track th e solol 119 becom 88 more ag ress ive ~ U Sij ng 'w8!h 'effects ano fast piickl ng techniques.e Healer Th ls track was raco rded with th e revs red bill 88m an John Le e Hooke r. Once agaiin th iis track was p robably played 0 n a Gibson t.GI. e·. first 501'0 section ..' I.ClD~Eb"E. clean sou nd. st~lllusl 11g th e .ed 'off~ a rttlle. These are improv~.cted and the tone control 'back.ollugh a Mesa Boog~e .ampli·'fiier.

Eb) . Bb. Th e so 110'appea rs at 'the end of th e track 0 n ceo agai n'" ~ is played usi n g m.e solo an d outre ~ ro u'ghiy based arou ~d the.E'v'i I Wa. th e Idl solo the guiit.~.t:rnctlymoody sound.tlly the. an u nu3ua.~choice Tor a glui ta U' based ban d.uas.onl This frack is in the key of F mlnor. 'q ueenon en d en ewer' pih rasilng c~ secnon be-gins between 'the Iead g ulta r an d th e rhyth m eectlon.es Pau II Spec~all. Pe'rs. C ~ IF)~. s. wh tch was 'the.'i.ai's tone becomes s'lightly more distorted".. T~. d ~stortedl sou nd. F b lues scale t (F"Ab. Th 9 p lckl ng ig and strum m in 9 sty~es are ve ry busy us ln 9 lots O'f rnuteo et rokes..n control lied fro m the. but 'the strs n gth ot p i.A fter the begiin r1in9 seoti 0 n of ttl e eol 0 e.y the' F bl ues ecaie even when the backing chord' ts Ab mmor. tion to Ab minor whilcti g~ves. ida. s ID~ Th9 chord work on th ls track is pia Y'9d 'with a very c~ sail sou nd ~wh Ien lis sasi 'P with 80m 8 occasional passi n 9 n otss added from 0 utslde the sea le.Mk1 ov €-raIII'feet The sound of the guitar Js . Iy obtain sd usl n 9 a P90 or 'soap bar' plokups Ii ke Carlos:' l.ar us iing th a vol ums pot. This was probably echleved by setting th e am pi ifjie r to .ys. There ~ also a 3 reourrinq modula . a. i 7 .9. G m i~0 r psntaton lc seal ~ (13 Bb.81 tltlly d lstorted. 'The gu ltar 00 nt:iinU8S. The oh ord playl ~g is va rjI' rhythmiic~ based arou no a [repetit hie groove usi ng Om i n 7 an d 0 cho rde. tnts c reatee a d~s.Qs. to plla. D U fi n 9 the bu~ up towa ids.e:king attack varies th ls t~ roug hout the sonq. 'QIU iit.

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hops If •• ~ $24. ~ I '.e. ~. Utlm~ 'i'. l:r'. or to use the transcriptions l 1 ttl is boo k in co nJ U net i on with th 9 back~n g tracks as a bas is to r yo ur own im provisati on '" n c .th.l Pmfess. while section 2 (tracks 9-16) is the backing tracks with all guitar parts added so in addition to the written tab you can hear the rhythm. fills and solos as they should be played!l The 'JAM WITH". Guitar World USA IJinvaJuabJe.U '~** *' ~.J ROOd. ~.. they can practically guarantee progress Guitarist Magazine ltthe hotlest new guitar tuition ptlckage in years"" .T ide..":j(~-=I Ei'""+=:~ !(]I...:'-'." 877 .al for begInners ar advanced players Total Guilar Magazine U . -.ed 9 u ltarl sts tns ·wo rid ove r 'for the yin last three dscadss..1.)'1 Carlos sarnena's instantly recognisable guitar style brought the rhythms of Afro-Cuban music to generations at people who might Q.5I~rl':' ...'U{i'm (11"<>..95 'in USA Liil(.e r with backl ng nacks 0 n the CD g i vas you the opportu nity to learn eight of Carlos Santana's tracks note tor nota and then jam with a professional session band. . so m... vocals. " .. .J series allows you to accurately recreate the original songs.: 031[I'-l.l:re to. • . section 1 (tracks 1-8) is tl1e b·acking tracks min us lead gultar &. .:r " ~ l r..therw~sG never have heard them.Th.:nfi:il[~i.11 help you extend your stockpile of licks and fills and develop your improvisational skills. Th is 9 u ita r works ho p is a powerfu I Iearn ing to 01 that wi. Hls sou Ifu I p ~a 9' has ins p ir. The CD is s p Iit into two sect ions. excel/en!.~ ~ . 'LA . MU!ilc f'liJiI}I1(:1!. .th~n g to as p.eGuitar Magazine ~Isuperb. as wei ~as. ... and continues to do so today.. I '0 . The comblnanon of musical notation and gu ita r tabl at u re in uh is boo k togetn.. The track listing reflects some of Carlos santana's most popular rscorrf n 9 SIP rovld In g S ometh irig for 9 u ltarl sts to have tu n with and improvise wi. ..i1l1l ~uLLtl"'~i.iona~&mfar Work$}.