INCIDENT AT NESHABUR (Abraxas-’70) Written by Albert Gianquinto and Carlos Santana Figure 16 - Intro and Head “Incident At Neshabur’ plays homage to both the modal jazz school & la Herbie Hancock and Miles Davis, and the rock genre. The intro is based on ‘a characteristic superimposition of triads (the contribution of gucst pianist and co-writer Albert Gianquinto) over a G pedal fiqure in the bass line. This joins with a blues-rock figure in which the harmonic content of Bb and C over Gis retained and developed with a distorted nard rock tone on the guitar and a powerlul, triplet-based ensemble part. mie A] intro “Meatium Bright Latin Jaz2/Rock o=138 +67 Gu Gre. 1 (st) nn ine rae ee ee et ria ei ia in na * Key igre Bassa fore envies G+ Chord sym eet ovr oality Doran Figure 17 - Guitar Solo The opening phrase of the solo (1:51) reveals the jazz side of Santana's, style. Notice the melodic emphasis on color tones (6ths, Sths, and 1 ths) as a way tu impart ari extended lunalily un Ue first statement in measures 1-6, and the loping triplet rhythm of the lines. The solo continues in a jazz vein. exploiting motivic development through riff repetition, syncopation, and shifted rhythm. The final passage is noteworthy, utilizing blues-based sounds against the bebop-inspired cycle of fourths chord sequence of Gm7-C7#0-Fm7-Bb749— Eb9. Note that Carlos approaches these changes with two standard minor pentatonic licks: in D minor (10th pos.) over Gm and C7, and the other in F minor (1st pos.) over Fm, Bb/, and Eb9. It is a clever and resourceful solution for mixing rook and Chicago blues idiome within a docidedly jazz chordal eetting, ‘Copyright© 1970 Caroers-BMG Musi Pubshing, nc 46 Triematonal Copyright Secured All Rights RogbrvedOo [C] Guitar Soto [5] Dm? ees dD wea of key senatre dene D Don + Pye bed he te ‘+ Pajed bind tees Slightly Slow “Gm orto Fm? bb7¥s roo wy wes 3 fal we * Chord bos derived in ame az1 Sola It Figure 18 - Interlude and Gi The interlude (2:28) flaunts a Dave Brubeck-style break which places a three-against-four figure into the arrangement, momentarily throwing a 6/8 focl into the proceedings. This was another of pianist Albert Gianquinto’s contributions, and hints at the “cool iazz” movement of the fifties providing a clever contrast to that which preceded. ‘The second solo is played against yet another rhythmic and harmonic background. Horo, Carlos bogine in a relaxed, quasi-balladic mood, in the new key center of C major. He improvises with great taste and restraint against a Cmaj? to Fmaj7 progression. Check out the emphasis on dynamics as Carlos moves etforiessly rom a planissimo whisper to a walling feedback cry In a single phrase. Open string pull offs a la Gabor Szabo (measure 11) are explored along with smooth legato lines, as well as funky, accented scale licks (measures 15 and 17) reminiscent of George Benson. "OOO D] 2230) c Am c Fmaj7 lay 3 mes E] Guitar Soto. Half-Time J =69 “maj? Frmaj7 Cmaj? Frmaj7 * Chord sol derived fom ora, aj? Fmaj7 Cmaj7 Fiaj7 weeneesmaj Fmaj7 maj? Fai? Cmaj7 Fnaj7 49