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International Music Publications Limited

Griffin House, 161 Hammersmith Road, London W6 8 BS

DON'T BE

--_

A MUSIC

The copying of © copyright material is a criminal offence and may lead to prosecution.

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Music transcription, arrangement and recording: Martin Shellard Music Editorial & Project Management: Artemis Music Limited Cover Photo by Max Redfern,

All photos supplied by Redferns Music Picture library Design & Production: Space DPS Limited

Reproduced and printed by Halstan & Co. Ltd., Amersham, Bucks., England

Published 1999

m@

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Carlos

Santana

In the Book ...

TraCK 1

Introduction

............... 4

Flor O'Luna

Track 2 FUll version

Track 3 Backing track

Tablature Key 8

TraCk 4 Track 5

All I Ever Wanted

f'ull version Backing track

Track 6 Track 7

The CD ...

Tuning Tones

Solo Sec lion (lull version) slow speed Solo Seclion (backing lrack) 510w speed

Flor D'Luna 10

Track 8 Solo Section (lull version) slow speed

Track 9 Solo Seclion (backing track) slow speed

Sensitive Kind

TraCK 10 Track 11

Full version Sacking t rae k

All I Ever Wanted

.......... 20

Track 12 Solo Section (lull version) slow speed

Track 13 Solo secncn (backIng track) slow speed

Samba Pa Ti

Sensitive Kind 32

Track 14 Track 15 Track 16 Track 17

Europa Track 18 Track 19 Track 20 Track 21

Hannibal TraCk 22 Track 23 Track 24 TraCk 25

Samba Pa Ti 42

Europa 52

Hannibal

................. 64

Full version Backing track

Solo Section (full version) slow speed Solo Section (backing track) slow speed

Full version Bac king I rack

Solo Section (full versonj slow speed Solo Section (backing track) slow speed

Full version Backing track

Solo Section (full version) slow speed Solo Secuoo (backing track) slow speed

3

Biography

"

rowing up In Tijuana, Mexico ill the 19505, Carlos Santana was introduced 10 music hy his blher, Jose. a mar ia ch i violinist. At the lender age o( eight, young. Carlos caught the guitar playing hug, ;lnd hcgiln emulating rhe styles of such blues gre a I s ,I S H. B. King, .I oh n Let H 00 k c r .incl T- BOlle Walker. He began playing in various bands on the 'Tijuuu« Slrip', and it W:lS during this formative period that the seeds of his unique gui rar plo )ling srvle

... the

momentum

were sown.

he's built up by gradually increasing his speed finally catapults him up to a higher

level... "

In [960 Carlos' fJlnily moved to San Fran(isco, where he enrhusinsr ic.i llv immersed himself in that city's melting por of a musical culture. For The next five years CUl05 continued to develop his blend of blues, rock and roll, and his native Mexican music.

III [96ti he joi ned forces with Gregg Ro I it' to form I h c Sa n (:I 1);1 Blues B,llld, which became ;1 popular group on the S,lO Francisco blues scene. In 1969, with the band's name shortened 10 Santana they were launched into rhe public eye with a legendary performance at rhar yea rs Woodstock (csti val in tronr (,f 500,000 people. It was rhe era of (lower power, IOH' W'lS 111 the air, ,1nel Santana had arnved. The dis r incri v e I11U$ic,\ I clcmen rs of A rro-Ca r ibbe a n percussion and Carlo,' soulful gUI{;H playing cornhined ill 'l unique blend, c rca ling ;l powerful m 1I sica I idcn til y t h;lI would \;1 u nch the hel n d 10 stardom.

Their debut a lhum SANTANA was released in IhM sa me year, and we nt platinum. II contained tilt' now classic tracks Evil Ways and Soul Sacriiice, and rhe follow-up album ABRAXAS included Blac]: Magic W()lIIan and Santbn /',1 Ti. After the third album SANTANA III they released an alhum r har was ro mark ,1 definite change in style. For openers [here

W;lS a pcrsnnncl Ch'lngc - Carlos enlisted the skills of .:J young gu it a r ist called Ne,d Schon who would later go on TO form Journey WIth Gregg Ro l ie . More

i III po rr a nil y, I h i s was a ball r rh e time when Carlos be g a n 10 t o l l o w t h e teachings of spiritual guru Sri Chinrnov, r a k iug the o d d i t io na l name Dc va d i p , meaning 'Lighr Of The Lamp Supreme'. This change was reflected in his music, which;] lso seemed 10 rake 011 a new persona. Songs such .15 S(JIIg Of The Wil1d and till' album LOVE DEVOTION AND SURRENDER. which was

Photo: David R

4 Carlos Santana

Photo: Ebet Roberts

"

... showcases

Santana's dynamic and lyrical style, he uses the volume

control to change the volume and tone of

the guitar. "

r

\

I

The next five years saw the release of many classic Santana albums includin!; WELCOME, BORBOLETTO, FESTIVAL and MOONFLOWER which contained a cover of The Zombies' She's Not There, Santana's biggest ever UK hie.

The MARATHON and ZEBOP! albums of 1979 and 1981 showed a more commercial rock edge, though still coloured with driving LHin percussion. The late eighties and nineties saw Santana return to their musical roots with J lburns like VIVA SANTANA and MILAGRO. which is dedicated to the memories or Miles Davis and Bill Craham.

An extremely prolific artist. Carlos bas released over thirty titles ancl sold over ch i rry rn iJ1ion ,,1 burns Since 1969 i ncl udi nf. co ll.a bor arions with such j a 1.'l. luminaries <1S Wayne Shorter, Herbie Hancock and Buddy Miles,

Musical Style

Carlos has a unique and distinctive style, partly dill' to his Latin Amcr icn n background. which finds its way inro ;]11 nspecrs of his playing. His trademark sustained, crying guitar sound came from his stated desire (0 'sing' with his guitar, always trying to emulate the vocal qualities of singers like s01l1 legend Aretha Franklin. This search for sust.nn ,md tone has lead 10 many significant developments in guitar equipment. He W;J, one of the first people to usc Mesa Boogie amplifiers and Paul Reed Smith guitars, and he had a lund in th~' desi!;n of rhc Yamaha SG 2000 guitar. Hi, sound is loud but never shrill, and when he plays he says that hi' uses his whole body, nor just his hands, TO proicc! rhc notes.

That famous endless SllSt;.JlJ1 IS achieved by iinding J 'sweet spor between himself 'and his amplifier, wirh some of the top rolled off, which allows the guit,]r to feed back in a controlled and musical way .

The key to understanding Car los" guira r style is to study the dern iii 11 hi, phr a s ing. His lise of stJCClIO notes ;lull dccor ar ions in lyrical lines lends Immense musical icy [0 his playing and, unusually for ,1 guitarist, his usc of vibrato is very sparse and subtle. These arc ,,11 elements that we'll look ar in dera ill arer in t he book.

Performance Notes

Flor D'Luna

Taken from the 1977 a lbum MOONFLOWER this track is 3 mid tempo instrumental wirh <1 strong samba flavour. It's in the key of D minor but you'll notice rhar Carlos doesn't stick to the standard pentatonic position for rhe melody. These position changes arc an important part of the melody as he uses the different sound of each string to complemcnr [he musical phrases,

The solo is based on the Em 71- 5, A 7. Dm cho rd seq lienee. Th is is called J II V I progression and is very common in [azz, The solo is based mainly around the

Carlos Santana

5

10rh (ret D minor pentatonic scale. Notice how the energy level increases firstly hy him pl;lying taster and faster phrases then, later, by changing. position and playing in a higher register. It's as if the momentum he's built up by gradually increasing his speed finally carapuhs him lip to ,1 higher level. This is a great example of solo building technique by one of the acknowledged masters.

Notice how the ourro uses the same chord progression as rhe solo with Carlos ad-libbing to the end.

All I Ever Wanted

This is an lip-tempo rif(-b"sed rock n u m b e r from the 1979 a lburn MARATHON. The piece sr arrs with a distinctive two har percussion intr o before the guitar plays an opening F. major riff, leading to the first verse.

The rhythm guit'H drops our here and a hlucsr lead guitar loosely follows the vocal line based around the E major pentatonic scale (E, G~. A, B, 0, E). A new riH leads into and aeeompan ies rhe second verst" before we see yet another change of texrurc with the power chords in the chorus. This is <l great example of arranging - notice how the V<'lflOUS sections are treated differently to help point up the form of the sOllg.

In contrast to the high energy riffs, rhe solo is quite restrained with Carlos leaving space to allow {he solo 10 'breathe' preferring to lise simple, rcperinvc ide" 5 ra I her rha n over! oad ing the song wit h notes.

Hannibal

This is a high energy, Larin instrurnenral from the ZEBOP! album and [eatures some of Santana's most incendiary guitar play in!;. Although the key is C minor, the tune is based around a D minor ronaliry which gives ir an exotic, modal llayouT.

Photo: Max Redtern

Carlos leaves space to allow the solo to 'breathe'

The opeiung of the song fe;l{tll"eS ,1 Spanish sryle nylon-string acoustic over a

power chord backing. scrnng the lone for the distorted lead guitar melody. , ,

The main melody I~ split into IWO secuous. rhe fIrst played at the 5th the enerO"\J

fret position and rhe second around the l Ilth. The second section ~J

is much looser (han the fir~1 with more fills and position shifts.

is kept at maximum

\'V'hen rhe chanted vocal comes in rhe guuar pia ys " palmmuted riff in unison with the bass and piano which leads into a percussion break. This pcrcussrou break is punctuated hy a unison figure ar the beginning of each bar, creating a dramatic framework fOf the Improvised percussion.

The energy is kept ,11 maximum throughout rhc solo, from thc opening tnsr-picked scales ro the double string bends and syncopated chords at the end.

6 Carlos Santana

throughout the solo ... "

Photo: Robert Knlghl

Sensitive Kind

Another [rack from the ZEBOP! album, this is a laid-back vocal ballad originally written and recorded by J J (,11t'. The key is G minor and most of the guitar action takes place at either the 3rd fret position or an octave higher at the l Sth frer. Check out Carlos' usual range of articularions here, and how he cleverly contrasts staccato notes with more lyrical bends and slurs. This is a common feature in .. !I) his music - it's part of his musical 'fingerprint'.

The solo is another example of rcsrrainr and economical playing. Notice how the simple yet soulful phrases are punctuated by rests. Once again the energy level of rhis solo increases towards the end, with Carlos both playing more notes and moving to a higher register.

Samba Pa Ti

Originally from the album ARRAXAS, this slow, melodic ballad showcases Santana's dyuumic n nd lyrical style. He uses rhe volume control throughout to change both the volume and rone of the guitar. Listen carefully and you can hear that almost every phrase has a slightly different cone, with some phrases so quiet they aft" almost inaudible. Although this song is in rhe key of G the main melody is played around rhe Srh Ircr A minor position.

The beat moves inro double time (or (he solo which starts with a melodic idea taken from rhe previous section. This then expands into a long free-ranging solo as Santana stretches our over the G ro Am7 chord sequence. As in most of Santana's songs the solo is played over a simple two or three chord backing which allows him the freedom to express himself without being tied down to a restrictive chord progression.

Europa

This track is another melodic ballad, rhis time played over ,1 jazz-inspired chord sequence. First released on rhe 1977 album MOONFLOWER, it features not only Sanrana's rradcmar k singing lead tone hut also a clean, rotating speaker sound used in the second melodic section,

The track starts wirh a C minor based melody which contrasts long held notes with short staccato ones, br now a I radcmark of Santana's playing style. There are times when his guitar seems to be raking a breath during or

between phrases - showing (he influence of singers on his playing - as he tries to emulate the emotional potential and expressive range of the human voice.

played over a two chord 'vamp'. This creates a broad backdrop for San tana to play over - and he takes full advantage,

Carlos Santana 7

Tablature Key

Hammer-on

+-5--7- is

Gliss and restrike

----It--5~7- i

Whole-tone bend "" II B

~ I

Full

-Jt-4':;__ _/---

....

Pull-off

Ph Y the li'll note with one finger rhen <hammer' another (inger on the Iret indicated.

"" II -
~ I
,.-..._
7--5-

i

'" Quarter-tone bend

B

Sarno as legato <!ilk except th,' second note is struck.

~ II
.J I
'A
t
J
..., r--5

i

" Place both fing"'" on rhe notes to be sounded, pby rhe first note and, without picking, pull rhc (in!;n off to sound thl" lower note.

rl~y the note then bend up a quarterr onr ,

Bend of more than a tone

B

Plav the note then bt'~d up a wholetone.

~ ,
~ ~
lV2
~
/
f--, r--4 -----

I
.... Compound bend and return B

'"
.J I
1/1
t-. r-,

h ~4

i

" Unison bend

B

Full

~~=./_--

8

Pre-bend

B

Ph v rhe note then he~d up alld down in rhc rhythm shown.

.; I
~
.J Full
t

-. k---(5)



..... Plav (h(" note t he-n Ix',;d up 3, required,

IkllJ I hI' 1I0Ie as shown bcfo(~ !'Iriking..

Double stop bend and return

Pia Y rhe lWO notes tog~llwr and [",nJ the lower norc up to the pileI, o( the higher one.

Tablature Key

Holt! ,h~ I<>P nore, Ihen bend and return the bottom note'S on :1 lower string,

Gliss

"" ----
.J I
.-....
--, ..---5-;;:--=7--


'" Half-tone bend

B

'" "
~ I
Y2
t

4-



.... Bend and return

B

"" "
.J I
V2
t>.
T /
r--a--4 ..

_is
1.1-
, Pre-bend and return

B

'" _II

~ I
full
c:-:
\.
h k--(5) ..



...... Bend and restrike B

iT [ \

tt=4-~-~-·

....

Plny I hI' firSl note and then sliJe the ,all'c Irel-Iund [inger up or down CO ,I" second note . DOll'l strike rhc second note.

Ploy the norc then bend "1' " semirone.

Pbv du.- IHHt', lu-nd up :lS indicated, rhcu rerum h,Kk 10 th ... " ()riJ;i.,~d nou-,

B~nJ the note JS vhowu IId"rc S'frik;,"g if, then return jt back to irs originJI pilch .

Play the note, hend .1\: shown, (he'll

rest rike- the ~trill~ where indicated.

--

Bend and tap

B

,.; fI •
.J \...,....oJ
l-ull T
r - -- ..
/
r--2--10-
j
J
" Tapping

.I_fl_ +
lL
L
~
t.! ----.J
T
---
ht---5--2--


... Natural harmonic

_fl_
.J
Harm.


[jb-::_12
... Palm muting

[0-0-0-0-

'"

Arpeggiate

.J
~~r
... 0


"' +

&nd the note as shown and tap the higher fm while still holding the heud.

Hamme, {"'op') the f":1 indicated with rhe pick·hond index or middle fin!:('r and pull of( 'he nOI<' (rcued hI' the [ret-hand.

Pluv rhe no(~ while rhe'fret-h~nd lil\hll)' touches the string dirccdv over the

lrct ind",.<:<l.

Allow ,he pickhand 10 I,'S( light I y on the strings wh i I.t pbyin!:.

Play rhc notes of II." dlOn.l by rolling them in Ihe direction of the .JrrOW.

Vibrato

.I 11
tJ
'\.,\'\.'\.-,\.",'\.

--: r---4 Pick scrape

".; '"
L
~
>.;c_v
f)
'I
1


~ x~~"""
" Pinch harmonic

.I 11 ~
OJ
A
tJ
r.n.

--. t---2


" Rake

.,.; ,
tJ ....
rake --I
5
x
H ~x

..... RJpidly bend and rrlcasc the note will. I he Ir<'uing hnnd.

The edge of the pick is rubbed nlong t he <Ir,ng, proou",ng " "'r;\l~hy sound.

Fret the note nmm"lly"nu produce a h.'lTmOnil.: by adding til" <'J~e of Ihe rhumb ur the (ip (){ (he illJ<x f'~gn of rhc pi,k hand ro rhe normal rick attack.

Or~b ,he pick across the ~[r'ng.' ~ho\_\'" wit f\ .1 Sitlglc monon.

Vibrato-bar dive and return

'"
tJ '--'" -......J
w/bar

h k---O--(O)-
" /
v
... - Dr op ,ho pirch 01 .he' nnf€> Or chord .'1. spt",li( nu rnbcr "I "'T' (in rhythm) rhen return to rlu' original pitch.

Trill

tr

-' fI ~'-~'''''
t) -
tr,,,,,,",,,,,,,~
--
.. k--(O- 2)-0---


..... Muffled strings

".; 1\
~ I
I-=~X
f-I----X



..... Harp harmonic

".;_ 1\ ~
A.
~
H.H.

--. t---2(14)

_I ,-
..... Tremolo picking

Vibrato-bar dips

_1/2 -\12 V V

.... _ 1\
tJ w/har _,
-'12 .111
v v

-. k--O-O-O-


..... R" pidly alrcr natc between the nOI£"5' inJ ,col('(1 by continunusly hammering on and pulling off.

L:, v rhc [ret-hand

I idlll y aero" I h,· "rin~s II",n plav with the pick-hand.

lrcr the 11014.:

IlOfmolly Jntlgcntiy rest ,he rick-hand', indc x finger direct I v ~lhov(" (he inJiclh"d frc, while rlu- pickbnd', thumb or pid as<islS hy plu,king the appropriate srring .

Rept~leJI)' pick !he (lute as r~lriJI)' :'\.\." possihh-.

Pin'" the fjr:-il note rht';l usc the h;lr If) drop" 'p,,,i{i.: number of stcps , th('n release hack 10 ,he "ri~illal pirch • ill rhythm. Only the fjr>1 note is picked.

Tablature Key

9

FLOR D'LuNA

by Tom Coster

Gm6 Dm/A

rr-'m frSim fr51m r"111 frle ["im ['-'II fr'lI frl1lm

Gm7 C~~ C9

fr'm fr2_ f'!'1m •

Dm9

A7

Gm9

Om

Om(maj7)

Dm7

Fmaj9

Fma]? Em7bs A7/E C/G

m rr7m frlg rr-'a

L124 N.C.

Om9

A7sus4 B__________...._

3

""_ J ~ ~' '~~ ~ e-- '~ ~ ~ ;._ «> •. (f'-~ .""' •. <,
~
O1f ~
15--13 15-13 /' \
15-14 ..,
14 15- -14 12- (12) --..
12

'" A7

Om Om(maj7)

Om?

Gm9

,.., I .,-......- 3 fJ'. ~""""',. ~ ~---~ f'- ~ ~.
....
I
t.l
13 15

12 14 14--15 15-14
14--15 15-14

" Om

)

~ '" • ~ _~ f'-' .,. • . ~ •• .,. of'. • • .'
t.l r
r--. /'"""'. »<. /'"""'.
12-14-14-15-14--12- 12-14 12-12·14-1412 12 12

15 15 14-15 15--11- ~12

... 3

Om7

Om/A

B

"" '" ~ ~' .~ ~ f'- e----------- ,. ~ ~ ;_ ,.~,. _._,,-.._ ..
t.l
)/1
»:
15---13 15-13 .-/ \
15-14 ~
14 15- -14 12
12

... , © 1984 & 1999 Light Music, USA

Rondo! Music (London) Ltd, London SW6 4TW and copyright control

10 Floy D'Luna

Om

Om(maj7l Om7

Gm9

m

3

,.~,. 3 6- ~r--.~ !'- ~,-_~ !'- ~ ~.
_1
~
13 15-

12 14 14--15 15-14
14--15 15-14

-, Om7

,--e-- 3----,

Om

i

_1 .. ,. r. f'- __ .. .,. - ... __ ~,. • ta'
I""
~ r
r--. "'"" r--. r--.
12-14-14-15-14-12- 12-14 12 -12·14 -14-12 12 12

15 15 14-15 15--11- 12

.... I

I.

I

Gm7

C9

Fmaj9

FmaF

B r>

m ~ .o_----~"-... ~ ~ ~¥~---~ ~ f'~ ~~~ B
it. ~
,/ __ ' ~ f'- __ ,."'"
~
Full
t »<; Y1
13-12 r-:
/ \
13 15 (15) 15'15 13-15-13 14____::_12-
14-15 14


" A7sus4

A7

Om7

Gm7

'~ ~ ~ - 17. ~~~ !j_ ~ 1 ~ 17 "j_ 7. 1 ~ 1
".......__ 13 15

12-14-14-15- f-14 14-15
14-15

" C9

Fmaj9 B ______________

Fmaj7 ,----3-'

A7sus4

rn ~ ~ ~-F ~J ~~ ~ F' ~ r __ r-~r-~ r~ ~ r--Ji
.I " •
~
Full Full
15-13-12--13-15 ~J r--. ,............
IS
13- 13--13'15-13-15-13
14 12
15- t-14

" Flor D' Luna 11

Om

Em7(~5)

Em7(b5)

A7

Om

"" _._. -
~ ~

12

14-15 15--11- ;-12

" Om

Em7(~5)

A7

Em7(~5)

A7/E

Om

. . ~ ;._ ~~~ h ~ .
,/ f7 .- . ,r-.,. ~ ~ .~ . f- • (l;
~
15 ~

14 15-14-12 14--15-14 14--12 15-12-15- Om

Em7(b5)

Om

Em7(b5)

A7/E

. : ;._ j.- • r--. • r; b/~~
,/ f7 I'r f'- ~--.~ . ..---.. •••• 1*
~ L__ solo srarrs L.;
15 ~

14 15-14-12 15--15-14 13-14--12 10 12-121~-12-10
14

-, Uf 'J1':.: tlUllllli' lmUliIi r..l tU..,l'!.7! iili;u ';.:: .. Ii i i:: al :1:tm'l!itWiliiP .,hm 1~'_,~lhnt!b,f·, .

Em7(hS) A7/E Om

Jf!1lmJ;iifflfii •

Om

Em7(~5)

B t""

m ~ j.- ~ ~ ~ r- ~ ~ ~ ~ ~ ~ ~ ;. r~~
" ,-..
~ - I I J......,J
1,11
- ruke 1
~ . - - '_J
10 10 12-10--12 12-
10-10- -10-10-10-10 10--10-10--x-
10-10 r--. 9-10 y-
12--12 12
" \10-8-10- 1---12
.... m ~. & ~. .~ ; ~' '~ ~~. ~~ f ~ (~~-~ ~ ~ ~ .
"" , ____.__
~ 1,12 1,11 1,12 'll '12
-_.-+ 1,12
J .r: .r J ___/\ /------~
12 12 12 12 10 10
13 13-10
12-10--12-10
12 12

..... 12 Flor D' Luna

Em7(l,5)

A7

Om

Em7(b5)

A7/E

Hm - . - - -- - - . - - - - .

B B

B

_..._ _..._ "-- ~ ...._ :--~~~~T~._ r> ....... ".-.__. r"> •• "......__
.I , •• . . - _ .. -. .. • • •
-~
~ --'11.. ....... Full
Full _/_ ....
...__ ...__ ~ ~ ~ _.--..
10 13 13-
13-10~9
10' 12 -12 -10' 12 -12 -10 -12 -12 -10-12 12 -10-12-12 -10 -12 12-10- 12-10
12 12

..... Om

Em7(b5)

A7

Om

Em7(b5)

A7

(8'''' ) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---, loco

m B B B B B B b~T~ ~~ ~~ ~ ~~~
,.I , "'. ~."""'. r> ... ~... ~. "'.. r--. ~ B -
.. - • 3
Full Full Full Full Full Full
--- .... J---'" _j _j J--~ _j .r, Full
r: ----
13 13- 13-13--13- 13--10 _ 10 r--.. 13-12--13 -12--13-12-10
13 13-10
12-10- -13/14 14
12

-, Om

3

3

3

3

3

3

3

3

f---=--13-13 121013-1312-10 13-13 121013-131210 13-12131210-13-12131210-13-121312 10-13-12 131210-13-12131210-13

Om ~

'Ir;1U!_ m;:lH!_~ffiIiliJ~_Ulfi;!rIttftUIWlmm!'lTlm!JH'mmml-nr.m:Ji·tltm.i3'

.. I Wi • ·iIDtl.WBff!:",w"ulHmnk'l:HIIl!"m:mWl.I~a.-

Em7(b5)

A7

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15

The Solo

Flor D~ Luna

What a great way to announce the start of your solo! A machine-gun burst of fast picking in the I Or h fret D min or pen raton ic pos i ti on con trasrs d fa rna rica 11 y wi th the sparse and measured melody that goes before it. This clea rl y ann ou nces the sta rt of the solo to the I isrene r, even though the backing continues pretty much as before. After this dynamic opening phrase Carlos eases back on the throttle, and allows the solo to settle into a more laid back feel.

Ex 1

10-10-

_-_10_1_2_12_1_2_12_1_0-+t-_10_ 12 '_0 _ 12 --'---'""'-'--------t---12 ------+t------- 11\10 -8 -10

9-10

12

Santana's solos all have a feeling of progression to them, 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 rake a look at one.

16 fIN D' Luna

r

\ \ I

Ex 2

k 'n 'h 1/, IJ, 'h

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~ ,12--,--,--"---" , 11--"---10 ,i"--

This example is taken from early in the 50[0, 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 10th position, so your first finger is on (he 10th fret. The string bends should be played with the third finger and, as with any bends, supported by the first and second.

Ex 3

Full

iO

13-10'<:9

12 10

-101212-101212-101212-1012 12-10 12' 12-10'12

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

17

on the B string. Most players would play this on the G string but not Carlos - he uses a first finger slide to slip that chromatic passing note in.

In bars 61-63 we see furrher 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 th ird finger. Then, duri ng the rest, move back to the 10th fret position for the triplet pull-off phrase.

Ex4

Em7(~5) A7/E Dm

~~~~~~~~

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This is the hardest parr of the solo so it may need some work. Use your third finger for the F and second for the E, with your first finger covering the l Orh fret. The sheer number of notes can be daunting bur it's far simpler than it looks.

18 FIorD' Luna

Wha t we ha ve here is a repeati ng pattern played in a cross rhythm. If you learn the first four notes of this bar you've got the whole thing. Play through the ph rase slowly and

learn which notes land on the strong bears, then gradua Ily speed it up.

The soaring high register melody st a r nng 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 octa ve phrase.

Ex 5

Om

A7

Om

A7

Dm

A7

Dm7

-7- 10--9---12-10

- 14-12---15-14-+---19-;8

Z1-19-

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12-10 13-12 17-16

19-17-

The sound for this lick is cleaner, almost jazzy, and was probably played by using rhe neck pickup a n d by strumming the strings with the thumb. Use your first and third fingers to play the 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· Luna 19

ALL I EVER WANTED

Words and Music by Carlos Santana, Chris Solberg and Alex Ligertwood

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20 All I Ever Wanted

Verse N.C.

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hold _ . _ . _ .... -l hold - - - .. - - - - .. - . - .. - - 1

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24 All I Ever Wanted

B

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Full

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5- All I Ever Wallted 25

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27

...

The Solo

All I Ever Wanted

In a fast and busy track I ike this there is a great deal of truth in the old saying 'less is more', The strong opening phrase in bar 61 is a good example of how to make the most of a simple idea. The first few notes feature ,,1 combination of a unison bend and a re-bend. This involves bending the B string with the third finger, releasing and rebending it whilst the top note is held on the E string with your first finger.

J

, , . ,..---.

f t It IU"

Ex1

~~. I >L'\ ,y ,0. ~

- (\S)----+~\S)--I'S)-('S) --15-15-15-12 j 14-12'"

The half tone pre-bends in these two bars are very short, with the Eb acting almost as a grace note to the repeated D.

I'

. ii , .:1 . {:

r

;:

c 0.

28

All 1 Ever Wanted

Ex2

(8"'; ) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

a a B a e B a a

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

~F ~r'9·TwF #c';·r'·r HC (~·r #F(~·r ~t F fftn

hll Yl I'ull Full y, Full full Yl l'ull '11 Full rull Vl

J\ ) J\ ) J\ .r-. /'\ J\

-1'5) -- (15)-(1$) --II$) - (1$) ----r-I '~--ll&1--:_-12j4 \4

Although the pre-bend is full (silently bend up a whole tone before sounding the note), the releases are only half a tone. So the note you are fretting is a G, you bend up to an A and release to a G#. This is an other repeated lick but, as with many of his solos, Santana uses an interesting crossrhythm for added excitement.

All I Ever Wanted 29

You'll need to concentrate on the pitch of the bends here. Not just the pre-bend note but also the release note. To add extra spice you can make this note a little "sharp" by not releasing it all the way.

Ex3

(81<)) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

B B 8 B 8 B Be

Eft r err r Eft IFir F$F ErMEr DfF

J 3 3 L3__j

Full Full

-12 -,J_ 12-12 ~ 12 -12

-I. 15---

I'ull Full Full Full rull Full

12 _)__ 12 __J___ 12 - 12 __J___ 12 _J__ 12 _J__

1~-15 15--'5-=-15-

This whole solo is constructed around simple, r eperm ve ideas but the repeated phrases are never exactly the same twice. In this bending lick Carlos breaks inro a triplet rhythm to give a sense of accelera rion.

The rest of the solo is based around a dou ble StOP and string bend. The D note is held on the B string with the first finger while you use your third finger to bend the G

strmg.

30 All I Ever Wanted

Ex 4

,.--j~

d .J J J ,d J J J J J

B B B B

e , __ 8 J~ e ~J~

e B

Full Full I'ull Fu II

I'ull Full Full I'ull I'ull Full

Full Full

Notice how Carlos introduces this idea in bars 76-77 before hitting you with it full-on. After a bar he again uses the triplet rhythm to build (he lick. Make sure [he finger that's holding down the top note is relaxed while your third finger bends the G string.

This bend is used in a variety of rhythmic patterns [0 the end of the solo.

All I Ever Wanted

31

SENSITIVE KIND

Words and Music by J J Cale

Gm E;'maj7 F Om7 C C/G F/C E'e 0 E~' D'
[r.lm; 1m 1m ' '0 fr-"m fr3m' fr'm frl'mmfr'''m rrna Ir~_
1m
Intro L118 Gm E~maj7 F Gm ~ , I - :r---
~ --------- ~ - ~ -
f w/dis). Full
r->
,.--,_ 6 /
3-5-3 -------- 5-1-7~5--5 5-

5--3
5
"' B

o

E~maj7

F

Gm B~

1'1 1 <, ._---.- -_._~_._ ~--..._,_
,_~
t-\ ............ --...!
Full Full
Full J------~ F----~---
- +
<, 6 (6) 3
\_/
5.,L7~5--5 3
I

" Dm7

C

" I
="1-1
'-.I B
0 I. Don'( take her for grant-
I ;--r- ~ rr, B
1\ r>. ,_ ---------n
:}-
._j Full J ~ - I ~
_J -----.. Full
6 6--3-6-3 •

6
3 5--5 C/G Gm

C/G Gm

,---()- J
,__,_' '1' -~. -~-t- ---
14r- ed, she had hard ~.
- a time.
m - her, c:lch and eve . r)' night.
1\ I it it 0 I it it
OJ
._j -- = ~ ,
mf w/clean tone
3--3 3 3--3
5--3--3--3 3 5-3 3--3
5--3--3--3 3 5-3 3--3
5
5 5-
"' 3 3- © 1979 & 1999 Audigram Music, USA Warner/Chappell Music Lrd, London W6 8BS

32 Sensitive Kind

FIC Cm

" I
-
.; -----
Don't m!$ - un - der - srand.L; her or play with her mind .. -
m You will dis - COy - er, she will rreat yOll rjght._
: , e-
li I 0 • • n
~ •
3 B B B
T
! 3 10-8 8 8 8
4 3 10-8 8 8 8
n 5 10
u 10
8 C/G Gm

C/G Gm

" I I
U - --..J
Treat her_ so gent - [y,
If you- be - lieve, ___
(Ii)
I • • 0 • ..
~ ~ '1' ~ ---..J ~
3 3 J 3 3
T
5--3 3 3 J 5--3 3 3
tl 5--3 3 3 3 5--3 3 3
n 5
u 5 5-
3 3- [ 'I [

l I (

I I

FIC Cm

r----J_

" I
U ----
ir will pay rOil In lime. __ You got - 1<1
m 1 know VOIl will find. There ain't
II I 0 • • : , ~
~ •
3 8 8 8

3 10-8 8 8 8
3 10-8 8 8 8
5 10
10
... 8 1.

Chorus

Eb

o

CIG Gm

" I 1 ~
w) • • -------
know.- she's rhe sen - 5i - live kind.c., 2. Tell her_ you lovc_
norh- ing like the sen - si - rive kind.c.,
a} if )II~
II I .- .- .-
~ ~ u ~ , ,J
"@1O 3--3 I!
I II
11 10 5-3--3--3
12 11 5-3--3--3
13 12
13 12 5
... 11 10 3 Sensitive Kind 33

2,

GIG Gm

,/ fI._ I B B_ 8 -
• ~
~
._) 1/ ~Y· ~ -- ~ '" ~
J' w/disr,
L__solo starts L; Full Full Full Full
3 ~ , 5 ~ -t
3 '" L_ 3-5~ 58
~
3 r--... 5
5 ~ 3-5 3_'~Z ~L
1-3-7"-5
.... 1-3 C/G Gm

B 8

r' r'

1'1 I ......, ~. r: '" • f'- ~ ~ G _~ '~ t- ~. '~ t; ~ !;r- G~
._) Full rull Full Full Full Full
-- J J J J J J
r-... 6 3-6--6 6 6 6 6--6

6f8
3


.... C/G Gm

GIG Gm

B

B

B

B

~ fI I ~ ~(~) r- '" ~~ ~-~ • ""--.r-... ~~
._) Full Full 3 3
J J\ FuH /I'---\~ jll Full
I----~____. .r:»>:
6-(6) !6l 6' 3 (~
(6)-3 (6)-3-6--6 (6)-3-

i

.... ,/ I I - -
• •
~ - .__, - - -- ~
J
F~ Y~ Y2
.---.,.
T 6 L / _t_-----.. / .. ~ ----.
! ~ 5-(5)--
Ll ( 3- t-(5)--(5)-3-S-5--S (5)-3-5-5-5-5-3-5
i-i
~
'" B

FIG Cm B~

B

~!nwJm!:mr:§rmrumfLlfmr.li~rmmmh~~iiUimMrnlfHtffi ·mtIDr~rnl!HJk'!~l~~~j~l~r~ilflllfiiHil.i!!w.·U!mggr:f:MmiJi~m1 "

o C/G Gm

B r'

1)'" - - -- - - - - - •• - - - - -- - - - --

B

B

B

B

". I "..--. it- ~~) -~ r- it- r- ,,_ bh r>. r-. • r-.r-.... r-., r-.
#. _-
-
._)
V2 Full Full jll Full jl!
n~ ----- J' ~ ,-... J 15 J
--
11-13(13)- (13) -11-13-11- 13 13-,1-15--18-15-18 18 18 18--18-
10/12


'" 34 Sensitive Kind

GIG Gm

(8m)------ ---------------- ----- ------------- ---- ----- -------------- ------ ----- ------- ----- --- -- --- ------------ ---------- -------

B

B

B

B

B~

_I ~~ rz-:-, --._ 1'- ~ --._~ .. ~ .. ....-... "'-- .. "".. .. ~ B
~ - -
Full Full Full rou ;I! _ . _ ~..-., Full
h..-., h~ j f f~ Full
18-18 15 ,--...,
, /
18- (18) 15--18- (18) 15 18 18--18 (18) 15- -18 1B-15~14
17-15-15-17-
17

"' miJt'Wimrn~DJ1!Wlrtutm FIG Gm

GIG Gm

(8"")- - - - - - - - - - - - -- - - - - - - - _- - - - - - - - - _- - - - - - - - - -- - - - - - - -, loco

I I B I:!!o.. ....---"I B ~ ~
.. - - ~ ---.J ........ I ----=
Full Full Y2 Full
r--- r--
,.--... r--. / --- r-- / / / .,......,_ ,...---..._
17-15-15-17-15- 15 15 15- 17 (5 ". 3-5- (s}--(5)-3-5-5 5-3-

17 17-17-17

"' B

B

GIG Gm

B~

, , B~ B~ .. ;.. I~>'~ t ;.. ~ ~ it-; t:
1\ I ..---...__ ...---.
. :1
tJ - ~
Full Full Y2 Y\
Full ~J /\,-.,
r--
.--.. / .. r--.. 8 r--.. 11- (13)- (13) -11-13-13-11-13-

5-5-3-5-(5)--(5)-3-3 107'12


" GIG Gm ~

FIG Gm

B

. B

I I

I I I

I

m I /"\r- ~ r- (~) r- ~ ~------~. ~ ~(~~~~ . ;,_
.~ ~ ~ ;,_ r f'-
.I 1\
tJ
Full Full Full Full
~ t /'\ / - - - -- - - - - _ - -- - - - - - - --~ ~ _/'\,-...
~ 13
(13) ". 13-11 -13-11--(13)- (13) -11--11-
12


..... Hie' • •• _ ••.•••.••• _ ..••••.• ••••••••••• _ •••.••.•••••.• _ •• - • __ - _ •••.•••••.••••

B~

B B

__ r>

B

1\ I (~)~ t jL ~ ~ ('--' r !J~ '~ !J~ ,_ ~ '" f!- tr ~ ('-- ('--~ .. r--.r--..
~ )1/2 Full Full Full Full
Full ________./ _/ _/ ./ .r, Full
F"\,.--... ~"'-~ _,.--.._ j
---- 18 18--18 18--18 18-15--15

(13)- (13) -11- 13-13-11-13 18--18-



"' Sensitive Kind 35

Verse

C/G Gm

C/G Gm ~

" I ~ - ~ ~ ~ ~ ~ ,._ ~. ~""'F ,._ .,"'.,
-
~
3_ She gcrs so lone - Iy --
m (H"')--- ~ , - - - - ------------------------------------ - - - - - - - - - -, loco
I r-. • ~ B ~ • •
• - - I ~ =
_ solo ends __j lJif w/clcan [one
Full
15-15 ...-..._ 4- 3 3
18-15-\ 14 / ...-..._ 15 ---,
- 5-3 3 3
17-15-15-17-17-15- 15 - - 5-3 3 3
17 17
-5-
'" ·3- CJG Gm

F/C Cm

" I - -
-- ~ 1-
~ - - ..,__ - -
wait - mg for you. You are rhe on - Iy_ thing_
(J!) , ,
I 0 .. .- 0 .. •
tJ ---.J ~ ..
3 3--3 3 8 8

3 5--3 3--3 3 10-8--8 8
3 5--3 3--3- -- 1-3 10-8---8 8
5 5
5 10-
" 3 8- C/G Gm r---:;

" I ........... ., ., ".. -
, -~~ -l
~ -
ro_ helr- hn rhrough._ Don'{_ rake hcr L, for grant-
CD ~
, I .- .- 0
t.,l ---...! =
8 3 3 3

8 5--3 3 3 3
8 5--3 3 3 3
10 5
5
" 3 C/G Gm

FIG Cm

" I --=
-+--I
~ ;...-
- ed. she hns a herd rime. __ You got - ta
W : e 6-
ft I I .. .- 0 .. .. -CT
-
tJ ~ = ..
3--3 3 8--8 8

5-3--3--3 3 10-8--8--8 8
5-3--3--3 3 10-8--8--8 8
5 10
5 10
...... 3 8 36 Sensitive Kind

D

C/G Gm

" I
------1
-I
~ - - --------
know she's the sen - SI - rive kind._
ED if .o_
I 1 »~ • •
~ ~ ~ ~
11 I ! lj I 3 3 sd
11 5--3 3 3
12 5-3 3 3
13
13
..... 11 3 E~

D

,----4----.- I ~
-~
~ - • • . ______
You've gor_ ro know she's the sen - si - rive kinO._
a) ~H ~iI~
1\ I 0
t.l ) '-~
3 11 .. 10
I ! l!
3 11
3 12
5 13
13
" 11 C/G Gm

Free rime E~"

1'1 I .. «» r-' )~-----~. f'- ~. f'- )~ ,._ r-~~'
.,_.
-
t.J
-- You've gor - ra know
m
1\ 1 • • 0 f'J. • II
-
-
t.J -........J ~ S~ ;;
~
3--3 3
5-3---3---3 3 8 8 7
5-3---3---3 3 8 8 7
5 8 8 7
5 6 6 5
" 3 Gm

,_1'1 I • • f fr:- }~ ~ f"- ."'.~r;. -.' ~
>-""""'<
~ J - I
rn she's rhe sell - si - rive kind.
fI I jt~ 0 0
----+I
t.J ~ .1.1 .1.1
u- n
~
3 3 II
7 3 3
7 3 3
7 5 5
5 5 5
..... 3 3 Sensitive Kind 37

The Solo

Sensitive Kind

The solo on this song is a model of taste and resrramt. Sure, it's impressive to burn around the fingerboard, and the high energy approach certainly has its merits, bur so too does the understated, cool style we see here. Notice how Carlos isn't afraid to leave space in his solo. Indeed there is a well-known saying in jazz - it's not what you play that COUIltS, it's what you don't play!

Ex 1

C/G Gm

B B B B B B,......, ~

ifF HiD H H HI' f'" f 0

Full Full l-ull Full f:ull Full Fu II

} ) } } ) ) ../'.

-0-6------.-----1 '-'-'U'-(I;I

The syncopated string bend lick in bar 31 is low down the neck in the G minor position on the third fret. This makes it harder to bend the string, so use your third finger ro play the note and use fingers one and two behind it, so you are pushing the string with all three. Pick the strings close ro the bridge to get close to the original tone.

This is yet another example of Santana uSIng a Latin influenced cross rhythm to create tension in his solo.

38 Sensitive Kind

--

Most of the action takes place at either the 3rd fret or 15th fret G minor positions, with a few phrases played around the 1 ] th fret.

Ex 2

D

C/G Gm

i-('" . _.-

,/, 1'1111 Full I'ull Full Full
n __ ---- _l_ ~ ) 15 . ..L ! !

11 13 I'll (13) 11 13 11-+1~ '" I 15 18 15 18 ,$ ,8--'"--'8--
-'°/12 H you LIse your second finger to slide into [he G, your third finger will automatically he set up to play the bends on the B string. The position shift should be incorporated smoothly into the musical phrase. Using the first finger, slide from the C (0 D note on the B string. You are !lOW ill the 'l Srh C minor position, essential for the string bends in [he third bar of the example.

Ex 3

C/G Gm

(ft~\. - - - - - -- - - - _ - _ - - - - - - - - - - - - - - - - - - - - - - - - _ - - - - _ - - - - - - - - - - - - - - - - - - - _ - - - - - - - - - - - - - ---

B "'''''''

j WE bi er U [f B I Jj J J o:il j e mz~

......... 15 ---.
, "...... "...... --
.. 16-15"<14
1715-15-17- 17-15-15-17-15 '5--15 15- 17-
17 17 17, 17, 17 Full

t

Full

Full

I'utl

In this example Santana uses a first finger slide to play the Db nore on the B string. This phrase is more commonly played with that note on the G string, but playing it this way gives a more fluid sound to the lick. You'll need to keep your fretting hand relaxed for this phrase - it's quire fast and you need to play it smoothly for it to work. Once again use your third finger [0 bend the G string. At the end of the example you need to hammer-on from rhe Bb to the C before bending the C up to D_

We're back in the third position for the next phrase, combining pre-bends with staccato notes. These staccato notes are an important part of Santana's style, as they occur throughout his music, and add great energy to even the simplest lines.

40 Sensitive Kind

Ex 4

F/C Cm

B~ B~ ..--..._

I#l~U tJ I'·!~ID BAF til t r t

C/G

r-ull Full

'I, Full Full ~ J

? = r.~ -:1= - £',- .. ~~

_(i;_'r-~~~~_3_5_j---j ~-(5)'J-5-5--5-3 i 5- 5-3 -5-1;__(5)-3--3 ~

Notice in the second fu 11 bar of the example rhar there is a pull-off from C to Bb, and the Bb is marked with a staccato dOL Use your picking hand to damp the string instead of just lifting off with your fretting hand.

Ex 5

D

Full Full

./ ./

18 18

Fun Full

./ F\ ~

,. ,. 18-15

18

hll

Full

"

18 15\14

17 15 15 17 17 15

t ~I

15 15

15

17 17

For (he last phrase we've moved up to the 15th position again, starting with a 112 tone bend frorn Bb to Db on the top string. Rernernber to support your third finger for extra strength in the string bends.

Sensitive Kind 41

SAMBA PA TI

by Carlos Santana

G Bm Em Am 7 8m 7 D

fIJIm mm liI II mm WIt

I

.. ~86

G

8m

I ~ ,---, -- _. -- ,.
-
'- ===== 3
'IIif w/slighr distortion + slow phase pp
"....__ --...
"....__ ,--..._ 0-2 2-3-2 ,..-..._
T »<.
! 4-"'5--6 0-3 3-0-
A 4--5--7 5-7 0
n 7
~ Em

Am7

G

I '" ,_-., --::- ....=-.- _i. .--
7,
~ - 3 - ~
lIif p-
"....__ ~
4':::'5 6 ~ 0-3-

0 4-5-7 5-7 0
7 8m7

Em

Am7

~ 1111 ,? ._..._ ~ 1': f"- ~f"-~ .-. .. ,.....
.
, ,
~ 3 ,... f
P Full
_--._ --- "'"""' ---
1=-2-2 2-3-2 ,..-..._ 0 5-7--5-7-5 ~ ~±:

3-0 0 8--(8)-5-8
0
i

..... D

Am7

D B~

1I. ,.,~ .l"'_· 1': f'- ~,._ ~ • ------- .--....., . ~. .-.... ~
.-
il 3 3
Full Full P
7 i - ~ .r:«: -------
5-7-5-7-5
to / 8--(8}-S B (8}-5-5-7-5
7
1

" @ 1970 Carecrs·BMG Music Pub Inc, USA BMG MusIC Publishing LId, London SW6 3JW

This arrangement © 1999 BMG Music Publishing LId, London SW6 3JW

42 Samba Pa Ti

m

Am?

8m7

Am7

r> ~

II .II -- ,. f1'- ~f1'-~ ~ • .~ .. -~
....._ - ~
~ mf - -
f Full
r-.. .--..
,...._, 5-7-5-7-5-5 ~ ~d::
-~
5 5 4-"'-5 8-8-5-8-8
7-5::04<::5-7 4-7-4 7-4-7
7

" m

D

G

8m7

II .II ;$(9' ,........, -. • -JI .~ rz-.
-
~ mf ==:F 3 -
P _.-.... ---....
rr»; r-.. 1=2-2 2-3-2~
..--...,
4-"'5-8 0-3 3-0-
4-5 5-7 0
7

-, m

Em

o

-I -3~

G

8m?

II II ~ ,.--.. ~ -~- .~ ~
-
~ p~ 3 -
lIIf
~ ---....
0 ,...._, ,...._, 1=-2-2 2-3-2~
,...._,
4-"'5-8 0-3 3-0-
4-5-7 5-7 0
7 Em

B

Am7

D

Am7

m .. r-F~ F-F F(~~--:' ;'f1'- ~T~ .--.....B~. B~. ~~~.--.....
1'1 .II
,
~ mf 3 L___ 3 ____.:______j
Full F~ Full Full
t r-.. ...--... + i-
12 12 5-7-5-7-5 _.-.... 5 7 5-7-5-7-5 _.-....
12-15"/ .-/ .,......_ ../
8-5'8 1 8-5-
12 (14)-(14)12
14

"' D

,............_

Am?

8m?

II .II ~~-~~ _,...-..,._ 1 ~ /"" ~
~ ~
, -
-
~ _- P iooo""""" ~ 3 mf
4=5 .,..-.... 5
.-----..~
5-5-7-5 5 5 ,...-..... 4C:::S
7 7-5"'4'<::5-7 4-7--4 7-4-7
7 7"::::'8

" Samba Pa Ti 43

Am? m .-..,

o

Br--,...-.._

G

I ~ (l- fI- f'-,. 1'" • s>. ..• .,.' (l-' • • • ~ ,._ .f:~
~ f
Full pp~ Full
,.-..._ 5 t
7-5-7-5-5 7-71~
8-8-5-8'8 _/ 12 8-8-8-10--10



, 8m?

B

o

G

mh ~# ¥~-$ ;-,._ ,.7;.. ,8,........
1\ M "........ .~. ,.' • •• ~ ('t .f:~"-"_
~
full Full rr»; ,.-..._ Full
10 + 12 -t 5-7-5-7-5 5 7-l±
137 15 ./ 8-7 7-8 8-8-8-10--1



-, 8m?

o

G

1M.' (~) ~ ~' ;-,.. ~ .. --- .-. fI-' ,--. . ,.,.-.._
~ mf
Full
~ ,...-.._
J -------.. 5-7-5-7-5 5 ---.. 3-5-
(13)--- ..
8-7 7-8 3-3-3-5



, Am? r--.

G

Am?

G

I W~1t-('t, 'P- "...-... • ,.----. ,---.. "...-... • .,.-.._
tJ
L__solo starts_
,---....
(5)=-7 ~ 3-5 - ...--... 3-5-

3-3-3-5 3-5-3 5 3-3-3-5



.... Am?

G

Am?

. ' "...-... #~ r ~-~ ~~.~~ . ~. ~-
I M""'~- ('-'---(2- ~. ~ .~---..~ ".--..
-
~ - _j
,---.... ~ ~"" ".-.....
(5)':::::"'7 ...--... 3-5 ,---.... 9-10-10--10--10-10-10-

3-3-3-5 3-5-3 3



'" 44

Samba Pa Ti

Am7 -......

G

Am7

I .. r:- r:- f'- f"i'~ ,. ~ ,. _t!-~~ f'- • ~ B_ B B ;-~
~ u L I::I.J ... I -
Fll - -
,....... ----.. ~" Full Full ~
8-8-7-5-7-5 5--7- 3 .-----... 0 t 0 ,....... ~ 4~10-
__./ -i,.......
8-7--8 3~5~3 3-(3)0 0--3-0
2 (21-(2)-0-2


'" G

Am7

G

!

~ .. ~. ~~~ ~~ f'- ~ f'- _~ ~,-.__~ ~ ,..~~ • ~ .. ~ ~ • ~ F.'
- -
tJ
10-10--10--10--10-10 ---- 12-
.---...
12--12 13-12-101210 10-12- 8
12-11--12 7::"9:::'7


" Am7 B~

G

Am7

~ B

B

~ » .~ ~ ~ ~. ~-~ ~. ~. ~~~ ~,.......~~. ~ (I- ~~-....... ,.. ;-~'\V\ ~. '~. (l-
f)
Full F~ Full ~~'\
r=; V\~V\ ,.--...._ t ,.--...
15.../ .. 15-15-15-15-15- :---15--15-15-12 .../ .. ,....... __./ 15- (15) -12-

14-(14)12- 12-14
i 14

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Am7

G

B

B

B

B

I 1

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15~(15)- (15) -12-15 15-- (15) -12- 15-15--15
14-14- (14) 12- 12-14 14
14

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G .......-.......

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(141 14- (14) -12-14 14-(14)'12 (14)-(14)-12
14

.... Samba Pa Ti 45

Am7

8110 - - - - - - - - - - - - - - - - -

Am7

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B

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46 Samba P a Ti

G

Am7

G

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" Samba Pa Ti 47

The Solo

SambaPa Ti

This song is the key of G and starts around the 3rd fret but incorporates a lot of posicion changes. As Santana is primarily a melodic guitarist these position shifts are used to emphasise the phrasing of the melody. He combines this with a very effective use of dynamics, usually achieved by adjusting his guitar's volume control between phrases. These small touches are almost as important as the notes themselves, as they really breathe life into the music.

The opening melodic phrase takes off into a syncopated repeated D note.

Ex 1

This phrase spans four positions so we need to look at the shifts in derail to make them smooth. Use your third finger for the slide and vibrato. In the second bar of the example you need to make a rapid position shift to the 5th fret. You do rh is playing both the D a t the end of the fj rst bar and the C in the second with your third finger. This sets up your

48 Samba Pa Ti

hand for the hammer-on in the next beat. In the 3rd bar play the G and the B string slide with your first finger. After the open E string play the B string bend with your second finger to move you into the open E minor position.

This long outre solo is played over a two chord vamp of G and Am7. It's mostly played from this point on around the l Zth fret which works well for both these chords.

Ex 2

G

Am7

e~ __

I·'C u-r r

,

14 (14) 12 -14

(14) 12 14

Full

~

:..;> +

- 114)

Full t :..;>

Full ..--._ D

12 12 15 12:";> +,-..

14 (14) 12

15

(15) 12

Most of the bends in this example arc played long, especially in the 2nd bar where the flow of the lick shouldn't be interrupted by the bent notes. Use normal pen ta ton ic fingering here with the fi rsr finger ba rri ng rh e first two strings.

Samba Pa Ti 49

Ex 3

Am7

G

Full

-12 (12) -1312 10 -12 (10)"8- 10 -8-(8)"7-5

5 5 2 .,..-.. ---7-(7)-5'::::_

Full Full

D

This is a tricky phrase to playas it combines hammer-oris and pull-offs with slides and position shifts. Starting with your first finger, in a smooth motion, hammer-on and pulloff with your second finger then slide down with the first finger. Next do the same but this time with the third finger hammering-on.

Ex4

G

(8'" ) - - - - - - - - - - - - - -.

Am7

. . ~ e .

y @ I WEb b@P li &F I fr fr rr rr [till F

l.__6....__j 3

.f""". -..,-.,._,-... ~ Full

- ,-.., ---I

-1214 ~1514121412 10 1210- B -7 - 5 - .. -.5 !=5 - 5 - 7 - 5 5-

- 8-5 5-7-8 8-5-7-5 5-5-

7

This example sees us back at the 12th fret for a quick legato phrase. Again you have to do a first finger slide after the pull-offs. Use the rest in beat 2 to move your hand so that you can play the C with your third finger. This moves

50 Samba Pa Ti

you into the 4th fret A mmo r posrrro n for the legato phrases in the second bar.

The slides in the following bars (76 and 77) can all be played with your second finger.

Ex 5

Am7

- 53-0- 3 53-03530-353-0353035303 53 035-3-0-35 3-0-35 30-3-5 3 0

AI though this is another scary-look ing ph rase don't be pu t off by the sheer quantity of notes. There are really only three different notes here, all played on the B string so, once you have this shorr lick under your fingers, you just need to repea tit.

Notice that in the first bar almost all notes are slurred. This changes in the second bar where Carlos picks the first note of each four-note group.

EUROPA

by Carlos Santana and Tom Coster

Bb7sus4 B~7 Ebmaj7 AbmaF G7sus4 G7 em emaj7

E m ·m fr'm fr'. f,JIm frJe fr-'M

Fm7 em7

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" © [994 & 1999 Light Music, USA Rondor Music (London) Ltd, London S\XI6 4TW

52 Europa

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-, Europa 53

G7Sus4

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-, 54 Europa

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, Europa 55

Fm7

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)

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B

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"'" 56 Europa

em7

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" Europa 57

Bb?sus4

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58 Europa

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Bb 7sus4

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8'''-----------

em7

( 8'~' ) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - . - -. -- - - - - -

B r:

B r:

B r:

8 8 ~- .. -.- .. -.-.-~-.-.~ .. -

r:

loco B,..---

m ; F.·~F ~ F~F; F' ~ F' H F~F tlF ~ F' F F E_F F F F ~ ~L'
, I
~ 11/1 11/1 11/1 11/1 lJ/2 11/2 Full
j j __J __J j ~------.-------.--.- .. ----.----------- ... __)
20 20 20--20--2]) 2O-.-~-~--~-.-~-~-.-.-.--11




" H"'"",--

wah-wah oif

Cm?

(8"")- - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - -, B ,..---

B~7SUS4

Nt·~, .. -- - - -- - - - _- - - --

1\ I • • ......_
~ )" I r
Full
!
18 --- ---- 8 15 16 18-

17-15-17-15- (15) 7-8-10 10-10 17
10

" em7 (8'''')--------------------------,

em?

8'~--- --- -- -----

loco

t _I _. • .... 0
~ ~ --= - I r - _ solo ends ___J
Full
15 t

8 15 16 18- -18
17-17--15-17-15 7-8-10 17
10 10-10

" Europa 59

The Solo

Europa

This solo is a good example of Carlos' trademark 'singing' guitar style which builds from sparsely used simple lines into some intense and expressive guitar playing. All of Carlos' favourite moves are here from lightning fast flurries of notes to long, sustained string bends.

This solo is played over Fm7 and Cm7 and stays mostly around the 8th fret C minor position.

Ex 1

em?

B

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

• p U UfE ICfEftlHfFE:fEifFfFfFFr

J J.I J Full

--)

To learn this lick you're going to need to slow it down and learn the finger moves thoroughly. If you think of the fast triplet as one smooth movement from the second finger 0 note through Eb to the C it will help you get up to speed. Once you've learned the notes you'll see the four note pattern clearly. It looks more complicated on paper because of the way it falls across the beat.

'-~~'" ... ,

60

Europa

:....-1,

.:1' .. I':

j' ••

Santana really raids his box of tricks for this solo, and many of his classic techniques are on view, like the syncopated, repeating notes in bars 57 and 60.

Even in the middle of a passionate solo Carlos finds room for a memorable rune.

Ex 2

I

I

Fm? em?

U rr IF On t ; 'I U'cF CfC a r rr n

'f (f FF

11-9-S-9-S-f---9-8 8--------

10-8-10-----7-8-10-

10

--7-8

-10

Use scale fingering for this exam pie, starring with your fourth finger. Emphasise the contrast between the held notes and the short, staccato notes. Only by using this kind of phrasing can you really bring a melody to life in the way that Carlos does.

After this brief melodic interlude we head back into more irn provisa tiona I terri tory.

pa 61

Ex 3

Cm7

H"" - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

J B,-- ,--... B~ ~ B~ B,........ B~ ____

• ~ ~ ~. ~ t' ~. • n___

9 f i [~f I f p ~ rt I

Full Full Full full Full

_/ _/./ _/ _/

--8-8-13-..,---13---13--11-- 13-.,----

----8-----~------------------------_r-----

Think of the three notes before the bend in this example as grace notes. Play the F with your third finger and really milk those string bends!

Ex4

B~7SLJS4 Cm7

(t''' .. ) -.- .. -.----.-------------.-------------- ------------ ------------ ------ .. - .

~ B"..--..,_ f'- 8"..--..,_ B,---..... B,---..... B,---..... B,-..,_ B,-..,_ 8,---..... B,-..,_ B 8,r----.. B B

t·1 r ,., ~f.l ~ ~rl.lr ~ f(·) ~ r fl.' r ,., Ct., ~ r CI.' r r' Cf., r r Ct., r ,., ~t'l r r Ct~r I~(') r,., C:-7,., C('1)

____________________ --- ----- .---- r

-----------------------------------.-----------

1'"11 Full Full FuJI Full full Full Full l'ul1 rull Fufl Full Full rull

-A 18 -A 18 ---A 18 --A 16 ---A 18 ---A- 18 ~ 18---A- 18~ 18 ----A- 18 ----r---------h 18 ~ 18 ---A 18 ___..L1_

(18) ---- (\8) -- (15) ----(.B) ---('8) ---(IB) --- ('\8) -- (18) --- (1B) -- (18) -_ (18) (Ull---- ('\8) -- (.8) - (18)

This three note repea ring pa rrern starts with a pre-bend before releasing with a Bb played on the cop string. Use the fourth finger on the top string and don't be afraid to let it

62 Europa

!

,

l

!

ring as you play the B string bends. The tricky part here is getting the speed and rhythm right. Once again the slower you practice it the faster you'll lea rn it.

Europa 63

HANNIBAL

Words and Music by Carlos Santana, Raul Rekow, Alex Ligertwood and Alan Pasqua

05 Ebs C5 FS

rr;m rr"w rr.". rr~m

Fm9 Gm?

';m fr'lm

Fm Fm?

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© 1994 & 1999 Light Music, USA Rondor Music (London) Ltd. london SW6 4TW

64 Hannibal

Dm9

Ebmaj7 em?

Dm9

em?

_11 _l
e!
m ~ (1'-' r-r- f'-' ~ .
I fT---~' ~~ ....--. • • fT ....-- ..
il
,--..._
10 10--10- 11 r--. 10 11-13- 11 ,--..._ ,..-.__

12 10-12-12-10-12 10-12-10-12-


" Om9

Ebmaj7 em?

Om9

E~maj7

em?

1\ I
e!
B....--. ~
m I fT • :-~ f'r- f'- ....--- .. r-~' ~ ~ ~ (I'-'--"'_~ r- f'-~ 7'"
fI • •
~ 3
Full
"......__ ....-.... J /"""'.
10 .---.. 11-13=1=11 ,--..._ 13- 10 13 13- 11--13'11\10-X

12-12-14 - 10-12-10 12-10-12-
H ~

..... Om9

OmS

em?

r-+--.I
~
m B....--. -----------
, I fT ~~ r-~ ,.. r-- •. .....---. ~. ~~ ~ ('- f:('-'j. ('- • •
~
Full
r--. t ------.---..
10 r--. 11-13 11 "...-..._ ~ 10 13 13- 11-13'11\10-11

12-14 10-12-10-12 12-10-12-


-, Om9 Ebmaj?
" I
~ ------
Ay, ay, ay
m
I ~-~'" - - 1 - . em7 Om9

~ -

ar - a . _

-

- -

~. .

'Oif I'.M. . - __ - - - - - - -- - - -. . __ ... _. _ - _ - -. -. -- - -- - --

1-+---10-(10)~--------__1_------------_+_-------------____1

~~------7-----7-7--_+-----5---7-5---_+-----7-------7-7---~

8--6---5---------5-------5-

~~---------5----5--~6------8

-,

Hannibal 65

Ebmaj7 1\ I

Cm7

Dm9

ya.

0,

bar

Ie

go_

Sf

a

rI

a

I

_ 3

3

- -

IP.M.) _ .. _ . . _ . . . . . _ . . __ . _ __ . _ . _ _ . _ __ .. _ _ . . _ _ . _ .

~~----------------5--6--5-----------------+-------------------7------------7---7---------1

~1-----6--------8--------8---6-8-8-r-5-------------------------5-------------5-

Ebmaj7

Cm7

Ebmaj7

em7

II I

-

.. ..._,.

web - wa L ma· lao.

Pe - ra

u - va - cu - su

C<l__ Ou son - Jay- ilr - genrc.

I

-

- -

3

IP.M.L. -- -' - ---. -- - _ .. --. -. - --- -. - --- -- ---- -- -- -- -. -- -- -. - - -. - - .. - -.; f

~~----------------5--7--5--------~----------7-------7--7----~------------5--7-5---5----~ 1--I-l1-----6----8 8---6-f-5 5 5--r-6 8 8---8-6-

N.C.

1\ I
tJ
m ~
" I - -
~ .. ~ ..

7 7 7--7
......
7 7 7 7
5 5
..... Play 3 times

1\ j
tJ
m ~
I - -
-.
tJ .. ~ ..

7-7 7 7-7

7 7 7 7
5 5
"' 66 Hannibal

Fm7

Gm7

Fm7

Gm7

" I
~
m B~,...-....
, I ~ s> -- -~~
~ ~ - I ~ -
1/2
~ r--,
6 6-8- 6 ".....__ ,,-- 6-6-
-7-(7)-5-7
8-7-5 5- 7 5-7 8-7-5 5-
8 8

-, Fm7

Gm7

Fm7

Gm

1\ I
t.J
m B..._. ___ ~
I r-. -----
t.l I ~ - -
1/2
.0-. /""0.
T 6 ",-._ 6-8- 6 ~ 6-8

Ii 8-7-5 5- 1-7-(7)-5-7 5-7 8-7-5--7
I"'i 8
UI
.... Dm9 Ebmaj7 Crn? Dm9
r* ~!l 4£2)\ t Fl ~ 4 :tH
~~I
-. ..< • ------
Ay __ ay ay ar - I - a m ~ «>; :-~ f"r-
~ • ~ f'- ~ f'-.
" I ".~.~ (>. r-:. .
t.l
--..,...-.,. ---------- ---- ".....__
(8)-6 10 10-11-13- r--11 ~ 13- t-10 /""0. 11-13

7--7 12 10-12-10 12-14-

_u
" E~maj7 Cm?

Dm9

E~maj7

em7

" I ~ r----::I r""'-"-I - ~
t.! •• . ._., .
ya , 0, bar - 1<' . go_ se - a - rI . a web - W;l. rna - bo. Pc - ra
€II r-~ B,--- ~--
1\ I f'- ,..-- .. ~~ ~ f'-'-""" r'- f'- '-~ • f'- • •
t.l 3
Full
-- ! ~
11 ~ 13- f-11 13 13 11 13-11" 10-11

10-12-10 12--12-10-12-

1J
" Hannibal 67

Dm9

E~maj?

1\ I I"""-. -
--
tJ .
u va L; cu - Sli -Gl_ OU SOO - Jay- ar - gente. r> .. ~~ ~ ~ ~~~~~~~~
(lE) ~~ .. ~ .. ~f'-r- P- ~
" I . .". "',
~
L__ solo srarrs_
---- 10·13 -13 -13 -13 -13 -13 -13 -13
---- ,--..
10-11 -10-10 10-11-13 f-l1 10·1113
12 12 12-15-12 10-12


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

~ ~~~~F~~f'-~~~ .. f'-~ ~ f'- fI-~
", I .. I ..
t.J J
-------- --
13-11-10--11-10 --- 15-17-18-18-17-15 -

r- f-- 13 13-11 -10-13-11-10--11-10 18
12 10
12

-, Ebmaj7

(8'~ ) -- - - -- _. _. - - . -

Cm?

Dm9

~ I ~ _--........ • • • • • • • • • • • • • • . ...--...
~
Full Full Full Full
17 ------ r>. lS t 15--15--15--15--15--15 r 15-15--15-15 j
-' ----I' ,
18-15 18 18 18 18



" B

r>

E~maj7 (8'c)._._-

em?

Dm9

Cm?

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I 1/\ • • B_ ~ • fl- fl-
t. - t-J -- Full
-
F~ J
15 .,,--.., 15--18-18-
18-15 15--15- 16--16-18-
18-17-15-15-17-(17) 15-_ - 15-17 17
1717

" Dm9 (8"')- ----

em?

Dm9

fB .......... B .~
~ «, • ~ fl- • ~ fl- . ~ ~ B
.I I I ~ ~
t. 3
I"ull F~ Full
t -r<:
17-15 15-17 18-15-17-18-15-17-18 ..--..... •
15 /
18 (18)/ ~ 15-18-15--15
17--17


... 68 Hannibal

E~maj7

(t)'~) - - - - - - - - - - - - - -

fa B

Cm? Dm9

I I ,...-.;;---_ • • ,...-. • • • • ,...-.,--.. .. ,..,....... -----
_A
.__J hold - - - - - _. - - - - - - - _, hold --- - - - - - - - - - - - - ,
Full Full Full
15 t 15-15 t 15 -15-15 -15 f 15 ,.-.,_
> ~ ..--... ,.-.,_ _,..
18/ 18 18 18-15--\-14
17-15--15-17-15-17-15--15-
17 17-

'" B B

Cm?

Dm9

m ~L~· -,

loco

_/ I B_ ,............ .. ~ f*- ~ • ----. ~ f*- ~ .. • ~ (It ~ • .. ~
t- - 3 5
Full
1- - --- ,.--._
,...-..._ ./ .---.. 10- 11-10 .---.. 10-11-10 ...-..... 10-11-10 --- 10-

17-15--15-17 10-12 12-10-12 12-10-12 12-10-12-
j 17

-, E~maj7

Cm?

Dm9

b

B r-'

II I f'--~f*-~f'--~~.~ • ~f'--~. • ~ f'- ~ • ~..---.~ f'-- ~ ,~ .----- s> . ~ .~
~ 6 6 5
Full
"........ ,......._ ,......._ ...-... ,--... ..
11-10-11-10-11-10-10 "........ 10-11-10 _,--. 10-11-10--10- -11-10 ,--... ,--... _,...-...

12-10-12 12-10-12 12 13-12-10--12-10--10-12--12-10-
12 12

-, Ebmaj7

Cm?

Dm9

B

_/ I s> :--~-----.~ ~ s>. ~- ~ .~ ~- '~ ~ .. ~ ~ ~ .-----
.__J J
Full
+ -~-
__.-... / 10 __.-... 13--10 _,...-...._ 13 10 ,.-.,_ 13-10 ,--...

12-10-12 12-10 12-10 12-10 12-10-
j
J' em?

Dm9

- ~ ~ ~ ~ ~ ~ ~ ,. .~,.
,I , I ~ s> • f*----~ .. I.I)~ s>.
~ 5 5 Full Full Full
~ .---. ~ .---. __/------'-~ __/)...--... _______J
.--.... .---.. 15- 17 (15)-- (15) -13-15
13-10-13-10 13-10-13-10
12-10 12-10 ~""---'- - ---- ,. _ .. - - - -- --- -- --- -- -- - -- ---- - - -- -- - -- - - - -- - - ---

S

B-------====---- ~

B

Hannibal 69

3

Dm9

3

3

3

J

Ebmaj7 em7

~

8""--------- 8

em7

tID I)"") - - - - - , loco ~ ~ ~ ~ ~ ~ ~ ~ ~ t ~ .. ~ ~ ~ ~ ~ ~ ~ F ~ i"'r--
~ 11 I s=:
tJ Fllil
,--.. ,,--.... ----- /
15-13 13-13-10--10- 10-10--10-10--10-10--10-10- 10-11-10 18
13--13 11 11 11
12


'" 3

3

3

hold bend .. ..... __ .... _ .. ...... .... ...... _ . _ .. _ .. _ .. .. _ .. _ , _ . _ .... _

Full Full Full Full Full Full Full Full Full rull Full Full Full Full

J Full J J Full) FUll) ) Full) Full) ) ) Full) ) ) Full)

1-=--(19)--------,,,.t-!- (18)- (18) >! (19)-----,,,.t-!-(19)- (18) j (18) -----.L-!-(1B1- (18)- (18) -1- (18)- (18) - (18) -----.L-!- (19)-

1-----+-----(18)-----(18) (18)------+(18) (19) (19) (18)------1

~_~~~~~.~~u ___

Dm9/A (H'~)----- -------

B B B

r-- r-- r--

E~maj7/Bb

em?

B

B B

r-- r--

B B

r-- r--

loco

.. (~) ~ (~) -r- ~) ~ (~) -r- r--.. ~) -r- ~) ~ t -r- ~r- r, ~. -r- ~ ;. :--~ ~
11 I fl- .......
tJ J 3 l__3__j
(hold bend) . ____ .... _____ .. _______ .. ___________________________ -------- --------------- -- --- - - - - - - - - - - - - - - - - - - - - - - - - - - 1
Full Full Full Full Full Full Full Full Full
) ) ) ) Full ) ) ) ) .r:'>.
t. »<;
(18) -(18) - (18)- (18) > (18)-(19)-18--18--16 18-17-15-17-15'- <::: 13--1
(18)



.... Dm9

;---....

em?

Dm9

- . ~ ~ ~ ~~,-_~ ~ ~; ~ ~~~
_l 1 ~
.
tJ ~ - Full
----- --... ...-.. .r,
(13)-
13-10-10 --... r--.. r--.. 10 13 10 11 13-15 13
10 10
10-12-1012- 10-12-10"'6-10-12-10

.... E~maj7 (1-\",,)-------t ..........

~-

em7

Dm9

EbmaF

em?

loco

'\

1-=--(1~==~=---------~~~-,------------==--,----------10---~--~------------10-11- 10----------~~~-+_--10--11----~

~----------------~------10-----10-12_+-----------~

~~---------------~----------12----~----------~

70 Hannibal

Dm9

E~maj7

em7

Dm9

B

~. i'- -- -- ------- -- ----
~ ,., I f'-_~ ;.. :--~ .---..._ s> r-.
~
Full -- r---.
T / ,,--.._ --- 10-13- 13-10-13-13-10-13-13-10-13-13-10-
! 13--11-10-11-10
12--12-10- 12-10
A 12
..,-
u
" Ebmaj7 (f.9" ) - - - - -

Crn?

Dm9

Crn?

loco ~

m B ~ ~ ~ r- ~ ~ __ ~~ ~ r- ~
"" ,., I ~ - g J J~ tEd
\J - 11
J 7
• ...... =-
~ Full
.r, -- ".--.._
13 13 13-11-10--11-10 ".--.._ 10
T '-
! 13 13-11--13-10
A ,........._ ~
..,- 10-12 10-12-
u
" Dm9

E~maj7

em7

". I ~ ------ ~ - ---.,-... -------. ~ ~. ~ s>. ~
~ 3
~
T ----. ,.--.__ 10-13--10 _.---..._ 13-
! ....--.. -- ....--..
A r»: ,.--.__ 10 10-12--10-12 12-10
..,- 10 10-12-10-12-13-12-13 13
g 13-12-13 13
.... f1 exr.Ht.HUllUUlUl!!llir mmm

Dm9

E~maj7 B

em7

I' ~ ~- ~ ~ :_ : ~ ~
",. 1\ I :-~ ~ ~ ;--,. s> ;-~--.~-
--
~
F~ll Full F~"
10-10-10--10--10--10 --- -j.
10
10-10-10---10--10--10 10---13-10 -r+»;

10-10-10---10--10--10--10- f-12 12--12-10-12
i 12 12--12

" ~ B

B

Dm9

E~maj7 B

em7

I. ~ ~ : :~ :_ : ~ ~ ~ _r- ,. ~
". ,., I ;-,. . ~ .--.._ .--.._ .
~
Full F~
10-10-10 10--10-10-10 + 10 ,.--.__
/ / . ....--.. ,.--.__
10-10-10 10--10-10-10 13-10
10-10-10 10--10-10-10 10- 12 12-- (12) -10--10-12-10-
12 12 12 :---.. B

Hannibal 71

Om9

em7

• I ~ ~ : ~ ~ :B~
, I ~ B_ -,
tJ Full 3
.r::'>. Full
,.--..._ .l_
10-10-10 10--10 10-13 10-13-10--10--10 _::"
10-10--10 10--10 10 13--13--13
10-10-10-12-10--10-12-10
-- Om9 loco

E~maj7 B

em7

• ~ ~ , :~ : : ~ r
I ~ :-~ ~ ;-~ s=: .----.. .
.; _ solo enJs-.J
Full F~II
10-10-10 10--10 f- lO --
/ / _,--._ _...--...._
10-10-10 10--10 10 13-10
10-10-10-12-10--10-12-10 12 12 12-10 12-10 --
10 -_ - 12

"' Om?

E~maj7

em7

Om7

(If)

I ~ ~~ PM u. J·u u.hq {? ."71 .1 j ... J .. ~.q il. J7J .. IJ

Om7

Ebmaj7

em7

3

- -

-

IP.M.) . __ .. _ .. ._ .... _. . _. - - - - - - - - - - - - - - - - _

~~-------5-7--S---5---+--------7-------7-7------r--------5--7--5------~ f-H--6------8 8----8-6- 5------------5-------5- 6------8---------8-6--

Om7

Ebmaj7

em7

N.C.

3

II I ~ - - ~3 - 3 .-
.; .. .. .. ...
iI'-M-I ______ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -l f

7
..._
7 7-7 5-7-5--5 7
5 5- 5- 6 8 8--8-6- 5
.... 72 Hannibal

The Solo

Hannibal

This is a great high energy solo rhar blisters into action with a fast ascending scale that soars to a repeated F on the top string.

Ex 1

Dm9 Ebma;7 Cm?

¥ @U'EfHfHHf, ffi f €, e § r r err t£ F

Dm9

-----

-----

-""'" 101313131313131313 13-11 -10-=~H~-~10SGG~~~~~~~=Fo==

--101113--------+---13 13-11-10-13-11-10-11-10

-1012----------+-------------12 10--

------------+------------------+-12-

Play this in the J Orh fret position, and use scale fingering so that the top note is played by the fourth finger. The fingering is important here because you need to set up the pull-offs that happen on the way down. Santana uses a lot of fast repeated picking (or tremolo picking). He plays with a large triangular pick that comes to a sharp point and, when he's playing this kind of phrase, he'll pick close ro the bridge. This helps him achieve the fast picking speed required for this lick.

Hannibal 73

Ex2

Orne (R'·;j-------------------------

B~ B,,--

& S U I~ r u

em7

B

• • : j·;-r ~f ~,jZ::

B

U u fnr CJ t!r E1 Gf gill

Full Full Full Full

~ y 15 15 -15 -15 -15 -15 -15 __J__ 15 -15-15 -15

- 1a '8 18 1&

Foil

15 - - D

18 -15 -----='= "---2-----=c·~'_____'___ __

18-17-15----;7 15-17- (17) 15 17-

After a quick position change up to the 15th fret Santana keeps the excitement going with a phrase made up of fast string bends and repeated notes. Don't hold the bend when you play the top note this time, and when you get to the fast descending pentatonic line try and pick each of the notes.

In bars 68 and 69 notice the phrasing of the two note groups. The second note is always staccato and plays with the rhythmic emphasis, which gives a great sense of movement up to the bend in bar 69.

Ex 3

Om9

E~rnaj7

~ _...-......_ r---. ~ _...-......_ ......._......._ ----- ..---..

q fbi Ie F eft Fer f F r cJ F f r r Fir F r F r F r rr r F r

J 5 6 6

--

-10-12

10 11-10

,--.._ 12-10-12

10-11-10

10-11-10 12 -10 -12

11 10 11 10 11 10 10 ~ 10 11-

12-10-12----+-------121012--

----

10

74 Hannibal

.... ,

This is a repeated four note pattern that seems to gradually speed up until the first beat of the second bar, where the pattern changes. The rhythm is quicker here too, with the overall impression being of an acceleration. To help you learn this lick, break it down into smaller chunks, say, one beat at a rime. Learn each phrase slowly then piece them together.

The high point of the whole solo is a long repearmg prebend lick which appears in bars 86 - 88.

Ex4

Dm9 iR"')- ----

Cm7

Om9/A

3

J

J

3

hold bend .. . . .. _

hll Full Full f'ull Full Full rull Full FuJI r:,,11 Full l-ull Full Full Full Full Full full Full Full rull

_) Full _J _) Full _J Full _J _J Full _) r:,,11 _J _) _J Full _J ./ _J ruu J _) _) _J _J hll _) _J _J

(18) __)_ (10J - (181 ~ (18) __)_ (181 - ~8) ~8) __J_ 1181 - ~8) - (18] __}__ (18) - (18) - (181 ----.J___ ('6) - (18] - (1.) - (18) - (181 -----.l- (18) - ('8) - 18-

--(18) (18)--(18] (18)--(18) (18) (18) ('8J-----

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

This phrase involves playing pre-bends in close succession on two different strings. There's no rime to bend each string separately so you have to bend both strings in one movement. When you bend the top string make sure that you catch the B string, and bend that by the same amount but without sounding it. Now hold the bend on both strings and play the notes. The problem you have is to srop the string ringing after you have played it. You can't lise

Hannibal 75

your fretting hand to damp the srring because it's busy, so you have to simultaneously pick the note and, with the pick, damp the previous one. This isn't as hard as it sounds and, once you've got the hang of it, you should be able to recreate the original very closely.

In the final bars of the solo Carlos alternates a syncopated three-note chord with bluesy pentatonic lines.

Ex 5

Dm9

Ehnaj7 B,.-

a Ivr

,.. ~ B

r F f rfr

. . .

reediL"

Full

em7

"1

Full

Full

'0 _...-,_ ..

10--13-10 >1 '2--12-10·,2------

t ---- ,/

-----12 12--12

-10 -10 -10 --10 -10 --10

-10 -10 -10 --10 -10 --10

-10-10-10--10-10--10--10 12

To play the chord, barre the top three strings with your first finger. Make sure you lift off on the staccato chords. For the pentatonic licks use your third finger to bend the G string, and a first finger barre at the 10th fret. You can use either your third or fourth finger to play the pull-offs on the B string, whichever you are most comfortable with.

76

Hannibal

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