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forGuitar
by YDichi Arakawa

grealill

Copyright © 1995 Cherry Lane Music Company
International Copyright secured All Rights Reserved

The music, text, design and graphics in this publication are protected by copyright
law. Any duplication or transmission, by any means, electronic, mechanical,
photocopying. recording or otherwise, is an infringement of copyright.
6 ••••MAJOR RIFFS 1, ••••DOMINANT-7TH RIFFS
6.... Major 7 11.••• G Mixolydian Lick # 1
Joe Pass-Type Triad 12•••• Barney Kessel-Type Blues
Major 7 With Chromaticism Sus4 And Pentatonic
7.... Bebop Lick 13•••• Emily Remler-Type Riff #2
Martino And Major 7 Another Lydian B7
B•••• Mock And Major 7 14•••• G Mixolydian Lick #2
Scofield-Type Lydian Riff Diminished Scale Riff
15•••• George Benson-Type Riff

B•.••MINOR RIFFS 16 ii7-V7-lmaj7 RIFFS


B••• Descending Pentatonic Minor 16 ii-V-1 Bebop Progression # 1
9.•..E Aeolian ii-V-I Bebop Progression #2
Emily Remler-Type Riff # 1 Altered Tensions
C Dorian 17.... Joe And ii-V-I
io.... B Harmonic Minor Cannonball-Type Riff
Mentor's Minor Riff First Waltz
ll ....Jim Hall-Type Riff lB....Catching Up With Pat

t About The Author Acknlwledgmnls - - -


Yoichi Arakawa, a graduate of G.I.T. and I would like to thank Jon Chappell and
Berklee School of Music, has authored and everyone ot Cherry Lane Music for
arranged more than 20 guitar books. These giving me this wonderful opportunity
include You Too Con Play Jazz Guitar, Best and assisting me with the production
of Miles Davis, Best of Count Basis, Jim of this book. Also, a million thanks go
Croce-The Greatest Hits, Top Hits of the to all of the great jazz musicians who
Country Superstars, and A Fingerstyle hove created, cultivated, developed,
Christmas. He is presently a free-lance author and given us some of the world's finest
and lives in New Jersey. music.
J8•••• ;;7b5-V7-; RIFFS
18•••• Dexter Gordon-Type Progression
19....Gigi Gryce-Type Riff
Bill Evans-Type Riff
Harmonic Minor Over ii-V-i #1
2o.... Another Waltz
Larry Coryell-Type Riff
21 •••• Harmonic Minor Over ii-V-i #2

2 J•••• TURNAROUNDS
21 ••••Joe Diorio-Type Progression In C
22•••• Hard-Bop Turnaround
Bob Berg-Type Turnaround
Coltrane-Type Turnaround # 1
23••••Coltrane-Type Turnaround #2
Turnaround In C
24••••Turnaround With Diminished
The Last Turnaround

25.... S0LOS
25•••• 0ne For Bird, Miles & Sonny
28••••Something Like Wes

31 •••• Tablature Explanation


HOW TO USE THIS BOOK

Here are some suggestions to get the most out of this book:

• Practice each line very slowly at first, in order to correctly program the
music in your hands and your mind.

• Once you have learned a line, feel free to change it in any way you
want to better suit your taste. For example, try changing the notes,
rhythm, tempo, feel, positions, or articulations (such as hammer-ons,
pull-offs, or slides).

• Although each riff is categorized into major, minor, or II-V-I riffs, and
played against the given chords, experiment with the same riff over differ-
ent chords or in different harmonic settings. By using your imagination
and ears, you can create endless possibilities.

• Learn these riffs in different octaves.

• Transpose all these lines to other keys where range will allow.

• Try playing a riff from the CD/cassette using only your ear, and without
referring to the book. It will improve your ear.

• Incorporate the riffs into your playing immediately.


M AJ 0 R RIFFS

I Major 71
, This major riff is a simple lick derived mainly from the C major scale.

.. -
;~O

D".
Cmaj7
- - sf. . •
/~
p

st. p

IJoe Pass-Type Triad I


This riff is in the style of the late jazz master Joe Pass and hot newcomer Mark Whitefield. It outlines an F
major triad while approaching each chord tone from above and below.

lEI " Fmaj7

f'~

I Major 7 With Chromaticism I


Chromaticism is the practice of using non-diatonic (out of the key signature) pitches and is an important
characteristic of jazz, as evidenced throughout this book's examples and by many other riffs played by the
jazz greats. This example is a riff where the chromatic notes help create a smooth line.

.. ~
p

p
IBebop Lick I
This riff starts with a very typical and popular bebop major lick-played by such greats as Clifford Brown,
Sonny Rollins, George Benson, and Michel Petrucciani-and finishes up with chromatic notes and a short
sequence.

II
Gmaj7
p
A~

~ '--'
P y ~
H
p

p H

IMartino And Major 7 I


Here is a lick in the style of one of the "monsters," guitarist Pat Martino. This line has a fluid feel and a
repeated-gesture idea, which is a Martino trademark. Strive for accuracy and a legato touch. especially at a
fast tempo.

Ebmaj?
H
H ~

sl.
~ sl.

H st.
H
Inspired by another "monster:' Don Mock, this line is essentially a scale sequence outlining some chord
arpeggios (e.g.: DmaF, Glm7b5, C!m7b5) and ending with a double-stop of a 6th.

Dmaj7 > st.


(11- .....
•• '}H
H -q,...-*- 1=.
:Iii
" H

st.

H H H

IScofield-Type Lydian Riff I


A true jazzman, John Scofield has for more than a decade immensely influenced countless guitarists and musi
cians even beyond the boundaries of jazz. He often plays a Lydian line similar to this example. Notice how tht
~11, or D~, is used and emphasized.

B
y

Abmaj7# II
- I'- I'-
.J;--Z
- ,I. ~3_ ,-3-,

«! ~3-
~l:·
p p
---.. ,I.

'I.

MINOR RIFFS

IDescending Pentatonic Minor I


This minor riff consists of the A pentatonic minor scale (A CD E G), and descends in a series of 4ths and 3rds.

Am7
8va " --,loco

• • ~ -*

~ -* '* -*i'il,*~'"
IE Aeolian I
This example is based on the E Aeolian (E F# GAB C D) mode, which has the same notes as the G major
scale. Note that the line mainly utilizes intervals of a 5th.

~ .
Em7
... p
----.., .
oJ ~
p
»<;

IEmily Remler-Type Riff #1 I


The late Emily Remler was one of the most talented jazz musicians, and a true master of the instrument.
Here is a short line in the style of Emily's use of the D melodic minor scale (D E F GAB C#).

Dm(maj7)

• .--..-/
H

IC Dorian I
This riff comes from the C Dorian (C D E~ F G A Sb) mode, which has the same notes as the B, major scale.
Hemmer-ens and pull-efts help give the line a legato feel.

mA
Cm7
P P
p
'""""~
.
f' -.I:~~ -H'
H
P
,-,*
P
P

P r--,

p p p
"----' H
H
IB Harmonic Minor I
This example is based on the 8 harmonic minor scale (8 cl D E FI G AI). Try this line on Clm7bS and Fln9 as well.

m ••
Bm(maj7)

,fI.e~
st.
'"'" •
p p
ss.

~ ~ ~
....p ...
'-'
p •
s
~ p p

st. p

IMentor's Minor Riff I


Here is a line played in the style of Norman Brown, one of the most incredible new stars possessing solid
technique and a great heart. Years ago, he was also my private teacher. Norman was very patient, warm,
and always fun to be with.

m

• •
F#m7

~ =Ii
H . ;-;.p ,I.
r"' ;~,.. ,fI.

3~
,I.

H
H

P ,I. st.

H H H s
IJim Hall-Type Riff I
Jim Hall is considered to be one of the most important and influential jazz guitarists to have helped shape
and develop today's jazz guitar scene. Some of today's masters who have been influenced by him are John
Scofield, Pat Metheny, John Abercrombie, and Bill Frisell. Notice how this riff incorporates such articulations
as hammer-ans, pull-ofts, and slides-all important features of Hall's style.

Am7 H
H
~

H H H H
st.
------ ------ ------ ------
H

H
tr-
• ----.
H s
~
. . H H p
'"
.

" ~
H H tr-

,,. H H p

DOMINANT-7TH RIFFS

IG Mixolydian Lick #1 I
The lick is based On G Mixolydian (G ABC D E F), which has the same notes as the C major scale. I've added
some chromatic notes as well.

III
s
G9
p
~
'.>~ ~ t~t~ ..

sl.
/""',
P st.
IBarney Kessel-Type Blues I
Here is a bluesy line typical of the super-veteran guitarist Barney Kessel, who mixes chromaticism in a bebop-
type phrase.

F7 p >
.
." .,......
~ 'I.t_ ... ~ !'- f: ~~ f: ;1'.. b~ J5~
oJ st.

s p ..
;:Jt
,"""'~~ ....

,I.

ISus4 And Pentatonic I


The first three measures of this riff are based on the A pentatonic major scale (A B c# E F$). When played
over a B9sus4 chord, the scale tones function as these chord tones: A=b7; B=root; (#=9; E=sus4; F#=5.
Taking a given scale and juxtaposing it over a seemingly unrelated chord will produce exotic results, and is a
common jazz technique. Try playing a pentatonic major scale or a major triad a whole-step down the next
time you encounter a dominant-7sus4 or dominant-11th chords.

ED A
B9sus4
p
!'-~.~ p
~
P
P ~.~# ~ ~ ~io. ..
p

f: !'-~ ,I.
~

rrg
p p p p
p p p
~
~
~
~
p ~
~ ~ ".

p p

Iv'T--

~ lI* ..
IEmily Remler-Type Riff #21
Here is a line a la Emily Remler or Pat Martino, based on the E~ lydian-Dominant scale (E~ F G A Bb C Db),
which has the same notes as the Bb melodic minor scale. Try this riff over A7 as well, and you will get some
altered sounds typical of jazz music.

E07# 11
It sl. H
I

H p

sf. H

IAnother Lydian 871


This is another example of the lydian-Dominant scale in B (B ($ D# E$ F# G~ A), which has the same notes as
the F~ melodic minor scale. Here it is over F7#11. Notice the second measure uses raking (dragging the pick
across the strings in one motion) on the triplet for smoother execution.

~
F7#1I
~ ~ .. p

~~--,..- H
- ""~ ~ ~ 'to
f-- fL'

oJ ~3~

p rake----~
.---..

H
1G Mixolydian Lick #21
This is another lick based on G Mixolydian. Note the use of repeated gestures: The idea in the second half of
bar 1 is restated almost verbatim in the first half of bar 2, and beginning at bar 2, beat 4, there is a four-bar
series where the pitches go up one and down three.

H
/""'

H
~

p p
A ~ ~
P ,I.

f'
~
'---'
p
... -.;.

p P ,I.
~

P P

IDiminished Scale Riff I


This line comes from the diminished scale. one of the most popular scales to use over dominant-7th chords.
Notice that. because of its plurality. it can be played over G,9, Eb7,9, Gm9. or An9.

m• C7b9 (Eb7b9, Gb7b9, A7b9)


~
p
;;"\
·e~,i.~~
p
.. I
p
~ • .~'"- .'"- ~~.~..e.J, L~
~ ~
~ iii .. p
p p
~ ~ p

p
IGeorge Benson-Type Riff I
This dominant riff is in the style of the guitarist's guitarist, George Benson, who injects funky, syncopated
bursts into smooth, traditionally played lines. His amazing technique is nearly unparalleled, and he has had
a prominent influence on countless guitar players during the last 20 years.

E7
1/2 ---------------------~

"~ 1&.) ••) ~)


. st. ,i. si.
..
I
I"
112 --------------------.,
t t t

,i. s;

• ~~~M~ ......, •• fl'- ..


si.
n ..... ,~
~
p
~

I"
,I.
,I. P

• • st.
'"\ e: si.
" ." ..~~ .
,
1/2

~J

oJ st.
=-== ~3~

sl. i/2

si. st.
RIFFS
i i 7 - V 7 - I m a i!.. . . :.-7-----"=--='--=---=---=__

Iii7-V-I Bebop Progression #11


The ii-V-I progression is probably the most important and utilized progression in jazz. This first example is
one of the typical bebop lines reminiscent of the legendary vibraphonist Milt Jackson, because it mixes wide
interval skips (bar 1) and chromaticism (bar 2), but is not too far "outside."

Dm7 G7b9 H P Cmaj7

~ ~
P
--! ~
H
• I..-~ •

~
P P H ~

1 ii-V-I Bebop Progression #2 1

Anyone who studies and plays jazz cannot avoid encountering the father of modern jazz, Charlie Parker,
and his music. He has been one of the most important and influential figures in popular music for the last
five decades. Here is a line that mixes linear (step-wise) ideas with arpeggios (bars 2 and 3)--one of the
countless approaches Parker might apply over ii-v-l.


~
Gm7
H
c7b9
J:
Fmaj7
- ~. .~

loJ ~
H
-""1"'
rake- - - ~
P

H H

I Altered Tensions 1

On this line, notice the use of the Emaj9 arpeggio against B~7, which creates some altered, or "tension"
notes (notes that require a resolution, such as the ~5, ts. and #5). An altered or "alt." dominant-7th is any
dominant-7th chord with a ~5, #5, ts. or ~9 added-alone or in any combination.

II •
Fm9 P

--------
Bb7alt Ebmaj9

f!! Ii
P
-------
H
IJoe And ii-V-I I
Here is a line a la virtuoso Joe Pass, showing a sophisticated and complex approach to weaving a 16th-note-
based solo, played in double-time.

m A.
Am7
H
D7all
.I'-e.el'- ~I'-.-. •
~
Gmaj7

- =
oJ '-' ):f st.
H

H H 51.
H

ICannonball-Type Riff I
This example is in the style of another jazz giant, the alto saxophonist Julian "Cannonball" Adderley. Note
the use of the A whole-tone scale (A B C# D# F G) over A7, which creates b5 and #5 tensions.

Em7 A7alt Dmaj7


p

A. ~ e'1l'- • I'- I"- #e I~ e e ~~ bl'- ~~ ~ •


~ 3

p
st. H
""'

[First Waltz I
3/4, or waltz time, is almost as important and popular a meter in jazz as 4/4. Here is a line the great French
pianist Michel Petrucciani might play over ll-v-! in 3/4, featuring a healthy dose of triplets.

Bbm7 Eb7b9 Abmaj7


p p
3 st. ~ ~~I'- .- ~ .s:
3! -
H 3 3
3
p p
si.
------- ,Y!,

H
ICatching Up With Pat I
This u-v-r Hne is in the style of the incredible Pat Martino. This shows Pat's ability to spin seamless, bop-driven
16th notes in a fluid feel. I've included some hammer-cns and pull-ofts to catch up with Pat. but you can
either try them in different places or delete them altogether to suit your taste.

A
Cm9
H
H
,..--,
F7alt
H .. - p

H p p

H H H

Bbmaj9
,
,
st.
.. ~~
H
. p . ~
H

st. p H

i i m 7 bs - V 7 - i RIFFS

IDexter Gordon-Type Progression I


This is an example of h-v-l progression in a minor key, in the style of the great tenor saxophonist Dexter
Gordon. The melodic shape, or contour, in bar 1 is repeated in bar 2.

Dm7'S
.. .
G7,9
~
p Cm7

p
I Gigi Gryce-Type Riff I
Here is a line inspired by the alto saxophonist Gigi Gryce, who was also a great composer, arranger, and
bandleader. The frequent use of intervals here (largely 3rds and 4ths) will help prevent your playing from
becoming too "linear."

m •
Cm7'S F7,9
r:o
Bbmtmaj'Z)
~b. ~ II-~P-

" p

,I.

IBill Evans-Type Riff I


It is often said that there are no pianists today who have been able to escape the influence of Bill Evans. His
concept of harmony. lyricism, and his trio playing have, in fact, had a strong impact on the entire jazz world
a
as well. Here is a line la Evans over ii-V-i in E minor that shows some unusual placement of non-chord
tones. For example, the Bon beat t bar 1, is the fourth degree of F#m7b5 and clashes with the ~5 (C).

I Harmonic Minor Over ii-V-i #1 I


The harmonic minor scale (1 2 b3 4 5 b6 7), the best common scale to use over a ii-V-i progression in minor,
is the basis of this example. Notice that the octave F#'s in bars 2-3 delimit the line's range.

Am7'S p D7,9 Gm(maj7)


.. II- \it- ~ ~II-~. • n

I oJ p ,I.

,I.
IAnother Waltz I
Here is another li-v-l in 3/4, this time in A minor. Notice how bar 2 contains both the major 7th and minor
7th (G and G') of the key.

E7b9 Am7
• t,

ILarry Coryell-Type Riff I


Larry Coryell, who helped develop the jazz-rock fusion movement in the 70s, has been one of the most
important and influential guitar players of the last two decades. A true master of the instrument. his playing
is versatile, often technically complex, yet exciting and beautiful. Here is a simple line Larry might play over
minor ii-V-i. Note the unusual collection of rhythms: eighth notes, eighth-note triplets, quarter-note triplets,
and a quarter note tied to a triplet eighth note-all in the space of two and a half bars. This lends a lyrical
quality to the line.

Em7b5 A7 Dmll
• -~

3
rake------~
IHarmonic Minor Over ii-V-i #2 I
The last example, ii-V-i in 0 minor, is based on the D harmonic minor scale (0 E F G A B] C#) with some chro-
matic notes.

m Em7b5
p
A7alt
IIilI A _ fL .--:.
- sl.

!'
p
p p

Dm(maj7)
H
H /""""'

TURNAROUNDS

IJoe Diorio-Type Progression In C I


A I-VI-II-V progression can function as a turnaround (a short progression that leads back to the tonic chord
or beginning of a section), and is one of the most-used progressions in jazz. This first turnaround in the key
of C was inspired by one of the greatest guitarists and educators, Joe Diorio.

c
Ii A7b9 Dm9 G7b9 Cmaj7

3
rake-----~
IHard-Bop Turnaround I
Trumpeter Clifford Brown was one of the hottest hard-beboppers of the '50s. Despite his short recording
career, Brown's influence is still being felt almost 40 years after his premature death at age 25. Here is a line
for Clifford that features his characteristic 16th-note triplet flourishes. Note that iiim7 often substitutes for a
I chord. as in this example.

Bm7 E7 Am9 D7 09/6

.... H P
H
j1L~:'
P H P
.,' - .. ~

H P
H P
-------

IBob Berg-Type Turnaround I


This example is in the style of tenor saxophonist Bob Berg, who is one of the best jazz musicians today. The
line is largely diatonic, except for the chromatic alterations that accommodate the chord tones (Eb in Fl, F#
in D7).

.. F7 D7
".
Om7 C7 F~


st.

IColtrane-Type Turnaround #11


The tenor saxophonist John Coltrane was one of the most innovative and influential jazz figures of the '60s,
and it is difficult, if not impossible, to talk about the development of modern jazz without him. The follow-
ing two examples are based on I-blll-WI-bll, one of the many progressions he made popular.

F~

F
H
006
l ,
~ H

H H
IColtrane-Type Turnaround #2 I

mA
F7 A~maj9

It.
D>maj9

... ~ ~ ~ ~~
Gb7

... ~ ,. F~

oJ

ITurnaround In C I
Here is a line in the key of C. Notice the D~maj7 arpeggio on the G7 chord. This creates the altered tensions
bs and b9.

Cmaj9 A7b9

~~.~
H
, ~ ,

H p

Dm9 mb9
bs Cmaj7
H P P

------ ~

~ 3
,
H P

H P P P

H
ITurnaround With Diminished I
This is a riff using the diminished scale on both dominant-7th chords, producing some tension notes.

Ebmaj? C7,9 p Fm7 E~maj7


H P

.~~ ~_ti:..
P
• ~. H
~ ~.D.
rr-.
~H 4>~

--
4>,

OJ ===0-
P
,-. H P
P
--------
H H

IThe Last Turnaround I


The last example in this section is a typical turnaround outlining each chord arpeggio.

F#m7 B7,9 Em7 A7,9 Dmaj7


~ 4> st.

n.

s
s 0 L 0 s
lOne For Bird, Miles & Sonny I
This solo is based on one of the most popular and frequently played chord progressions, "Rhythm Changes,"
culled from George Gershwin's famous song "I Got Rhythm." This example starts with one chorus of melody
a la Charlie Parker (using more traditional bebop ideas) and moves on to another chorus of improvised solo,
with two of the greatest jazz giants, Miles Davis and Sonny Rollins (whose styles are more angular and har-
monically progressive than Parker's), in mind.

m· ,
Melody
B,
-. ... ~iL
Gm7 Cm7

-. k.;.
F7,g B, Gm7 Cm7 F7,9

0)-

..

B, Gm7 Cm7 F7,g B, Gm7 Cm7 F7 B'


• .. ~~iL -. k.;. H ... -. ~ ..... iL
~ 3

..
H

D7 G7
• H P
~ . "h ,1 st.

~ 3

H P P ,,.

C7
P ,,. F7 F+
... '
~
~
....

~
3

H P P s
B, Gm7 Cm7 F7,9 B, Gm7 Cm7 F7,9
• ... ~~ .. . . L.

.
~

Fine
B, B,
B>
... ~~
Gm7
..
Cm7
. L.
F7,9 Gm7
H ~ ...
Cm7
~ ...
F7
~ .
""'3

Solo

oJ
~ ... Gm7 Cm7 F7 B, Gm7

::§!
Cm7
- F7
,

B, B,ID E, E,m7 B, Gm7 Cm7


• ... F:
~~~1
~ ...... ......

B, Gm7 Cm7 F7 B, Gm7 Cm7 F7


H

• ~ H ... e: ~ ..... ~ e ~e: ~~~ . ... :-.. H


~

~
,I. H H

H
B' B,ID E, BOrn?
,I B'
• ,.. ~ ~ h. /~ ~ I'-~p.
st.
~ I'- .. ,. ..
"
oJ

,I. sl,

O?

••

p
~

C? F7 F+
p

" •
p
~~,.t,
. ~ ~ ~~ ~~
c-;
~ ~~ ..
~ p p
~ ~

B' Om? Cm? Om? Cm? F?

"
It- :c- f:-
p

~--.,.. . •

p p

Om? D.C. (w/repeat) al Fine


,I
F?
B F7
I'-~~~ ~ !: ~br:~
p Cm?
It-. --..
"
=!J ,
st. st.
--r-; ..---.. p
ISomething Like Wes I
Wes Montgomery was one of the finest, most creative, unique, and influential guitar players of the 20th
century. Virtually all the guitarists mentioned in this book-including Pat Martino, Emily Remler, larry
Coryell, John Scofield, Pat Metheny, George Benson, Norman Brown, along with many others-have been
strongly influenced by him in one way or another. Montgomery's style is characterized by a warm, honest,
and hard-driving swing approach. This last piece is for Wes.

d,
(J-LJ ,J\)

-
Melody
F7 Bb9 F7 Cm7 F7aIt
p
"'. ~ -r-;

··
• 3 I I ,,. ,I.

s P

··
.II.

To Coda
Bb9 F7 FI3 A7#5 D7#9
A )..,
"
r'L ~ b~ ~~
:J
~ ~
,
;; ~

sl.

11.
Gm7 C7 F7 F13 07#9 Db7
~j!: ';ofO- '* ~.-- ~ . 1:-, ·
~
A .-- fO- fO- I
·
oJ f: ... 'v' ~
·
··
··

··
12. Solo
0>7 F7 B,7
• st.
~
Lg 1':1-.-
~
~ 'v
"f'~ ~3-' D~ '-3-' ~

H P
s ~

F7
3 r-3~
Cm7
3
F7aIt
,.6 .. 3
B,7
3 ,I. ,I.

.. 3 3
3
,I. ,I.

F7 Am7 D7,9 Gm9


3
...,;. P
• 3 ,-4 ~

~ '""';-J .~ P


C7alt
>- - -
H P F7 D7
Gm7

Ii'- . s
C7a1t

~
F7

. ~ st.

~ ~3~

H P
~
IJ ... .

sl.

B,7 F7 Cm7 F7alt

6.. Ii'- e
sl.
.. , b.. _ .. It- It- fII-

I •
.... ~
I::: I-

s
Bb7 F7

b~~~ ""~""
3
A I!: "" I!: b. •
.
~

oJ
3
- 3
- ~
.. L~ ___
sl. sl.

------
st. sf.

Am7 D7 Gm7 C7b9


8va , [oeoA

!: I!: "/bl!: ".~~ II. II. ! !:/~


f- ".
0
!: "" b".
0
~
3
,I.
~
sl.

D,C. (no repeat) al Coda


F7 D7

..
Coda
Gm7 C7alt
"., ~
A • ~o f- !: "-b• ~

oJ

11.2. 113
Cm7 F7 F13 D7#9 Cm7 F7#9
A flLfILl... 0
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• TABLATURE EXPLANATION/NoTATION LEGEND •
TABLATURE: A six-line staff that graphically represents the guitar fingerboard. By placing a
number on the appropriate line, the string and fret of any note can be Indicated. For example:

'''''M'''_Hi9hEI~~~~§~
2nd string-
3rd string·
4lt1 string·
9 D
B
G
..{t

5111 siring - A 3
6th siring - Low E

5th string, are fret 2nd string, 10th fret an open E chord
and 3rd siring, 9th fret
playedtogether

_________ Oefinitions for Special Guitar Notation _


BEND: Strike the note and UNISON BEND: Strike the SUDE: Slideup to the note indi-
bend up 'h step (one fret). two notes simultaneously and catedfrom a fewfretsbelow.
bend the lower note to the
,'" pitch 01 the higher. "
Full

,n "
Full
r

HAMMER-oN: Strik.e the first


(lower) note, then sound the
BEND: Strike the note and bend higher note with another finger
up a whole step (two frets). by fretting it without picking.
Full
VIBRATO: Vibrate the note by
rapidly bending and releasing
the siring with a left-hand finger.
"

PULL-oFF: Place I:xJth fingers on


BENDAND RELEASE:Strke !he the notes to be sounded. Strike
note and bend up ~ (or whole) !he first (tlgher) note, then soond
step, then release !he bend back WIDE OR EXAGGERATED the lower note by ptAing the finger
to !he origilal note. Allhree notes VIBRATO: Vibrate the pitch to off the higher note while keeping
are tied; 0Iiy !he first note is struck. a greater degree with a left- the lowernote fretted.
112{or Full) hand finger or the tremolo bar.

~
11!{orFull)

TRILL: Very rapidly alternate


bEtoNeen thenote inck:ata:l am the
PRE-BEND: Bend the rote up SLIDE: Strike the first note smaI note shown in parentheses
~ (or whole) step, then strike it. and then with the same left- by harrmering onam ~Iilg off.
112{ocFull) hand finger move up the string
I to the second note. The sec-
ond note is not struck..

112{ocFull)

TAPPING: Hammer ("tap") the


PRE-BEND AND RELEASE: fret indicated with the right-hand'
Bend the note up y" (or whole)
h::lex or rnici:lle finger am pul off
step, strike it and release the
to the note fretted by the left hand.
bend back to the original note. SUDE: Same as above, except
112{ocFull) the second note is struck.
~
"

1f2(ocFull)

"
NATURALHARMONIC: With a PALM MUTE: With the right TREMOLO PICKING: Pick the
left-hand finger, nghtly touch the hand, partially mute the note by note as rapidly and continuously
string over the Iret indicated, lightly touching the string just as possible.
then strike it A chime-like sound before the bridge.
is produced.
H.rm.
± '",orr. pick

r." - - --. - - - -- - - -- --,

RHYTHM SLASHES: Strum


chords in rhythm indicated. Use
chord vccnqs found in the fin-
gering ciagrams at the top of the
ARTlFICIAL HARMONIC: Fret first page of the transcription.
the note normally and sound the MUFFLED SlRWGS: Laythe left
harmonic by adding the right- hand across the strings without
hand thumb edge or index finger clapressi)g It"em to the 1reI-board; ) ) ) H
t.p to the normal pick attack. strI<e thestrrgs v,;u, the rjjt hand,
~ a pen:::ussive sun:l.
A.H.
181'a)


A.H.
SINGLE-NOTE RHYTHM
SLASHES: The circled number
above Ihe note name indicates
A.H. pitch' E
which strir.g to play. When suc-
cessive notes are played on the
TREMOLO BAR: Drop the note same string, only the fret num-
by the number of steps indicated, PICK SUOE: Rub the pick edge bersaregiven.
then return to original pilch. down the length of the string 10 @Jfr 2f, open @1r,
C BAG
produce a scratchy sound.
~
~~
) )>-n)

frem.oor

Definitions of Musical Symbols


-Play an octave higher than written -Repeat previous heat (used for quarter or eighth notes)

·P1ay two octaves higher than written


-Repeat previous beat (used for sixteenth notes)
loco ·Play as written

pp (pianissimo) 'Very soft


·Repeat previous measure
P (pillF/()) -So.
1I1p (mezzo-pillno) ·Moderately soft II: :11 • Repeat measures between repeat signs

mf (mezzo-forte) ·Moderately loud


-when a repeated section has different endings, play the
f (forte) -Loud first ending only the firsl time and the second ending
only the second time.
ff (f()r/issimo) 'Very Loud

It (accem) ·Accentuate note (play it louder) D.S_ at Coda -Go back to the sign (ll!) and play 10 the measure marked

.' (accem) -Aecentuate Dote with great intensity


D.C. al Fine
''To Coda," then skip to the section labeled "Coda."

·Go hack to the beginning of the song and play until


~ (stllccato) ·Play note short the measue marked "Fine" (end).
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The Most Demanding Software free of Explore a New World
charge The best ebooks are available on each and every
The Music Albums topic
Videos JAVA, SQL, Oracle, Databases, C++
Magazines: Weekly and Monthly VB, Visual Studio.Net
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Graphics Microsoft Office Suits
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