TO BET Nes Deluxe Encyclopedia of Jazz Guitar Runs, - rape eth too oS) By. Johnny Rector ry e . ry ry ry e . a e e e ° e . e e e e ny ms e e.. Y e e ~— e e CJ a . a e e =. ey 1 — Ld e mY . . Ld oOe: e 2 e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e a Mel Bay's Bales Eutpuepedta GP Gaza Guin Guus, Fila, Mes, & Ube By Johnny Rector ‘© 1924 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO. INTERNATIONAL COPYRIGHT SECURED. ALL RIGHTS FESERVED. PRINTED IN USA.This Deluxe Encyclopedia of Jazz Guitar Licks, Runs, Fills, and Lines gives the advanced student, teacher, and professional guitarist material in the styles of many great artists in notation form for use in study and analysis. This material can then be applied toybne'sjown improvisational abit doe By; meribtizing these licks and fins: arid fled them to standard songs and chord. progressiotis; the: player becdrties fartiliar with a Variety of musical ideas for use when playing” Memorizing the’material in this book will help to train and develop. the musical. ear, For, best results, I recommend playing this material in a variety of rhythms, ¢ ree ae eed ‘The material in this book is a wonderful aid in developing agility in various positions on the guitar. While written for the guitar, these licks and runs may be played by other treble clef instruments. e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e @eAUTHOR’S NOTE To achieve the utmost benefit from Guitar-Licks and Runs, it is recommended that the player memorize and apply them as suggested... first, playing them in the original ‘Suggested position, Most of the material may aiso be played in positions other than indi- cated. Memorize the lick/run in the original position(s) and if applicable, apply it to other positions. Play each lick/run in as many positions as possible, Remember to pay particular attention to the chord name change at each new position. ‘Once you are familiar with the original lick/run, apply the same fingering and formation(s) a8 you did for the original lick/run to the new position, ete. This will apply only to those licks /runs that can be moved to another position utilizing the same fingering and forma- tions as in the original. Positions given for licks and runs are optional. Most licks and rruns can be played in positions and formations other than those indicated. ILLUSTRATIONS AND REMARKS FORMATIONS-BASED ON CHORDS ‘The following formations are given as an aid to help the player simplify position playing of Meks and runs as indicated. Db (Db-t) F (F-t) Ab (Ab-f) Bb (Bb-t) Eb (Eb-f) Eb (Eb-1) (or) NOTES IN FORMATIONS Eb (Db-1) Ge Bb (Ab-1) Bb (Abt) C (abt) Eb (Eb-t) 3 2 2 "3 2 setae 3 3 4 3 s [geal] 4 4 5 4 644 5 5 6 5 ii 6 1 6 MAJOR SCALES- BASED ON FORMATIONS Bb (Db-t) = G (F=f) Bb (abst) 9. Bh (ab-t) cw) Eb (@b-1) 3 2 fT 2 3 2 OT 4 seal [ae 3 4 3 5 4 4 5 4 Fr 6 5 5 6 5 Ts 7 at All formations are movable. Start at the first fret and continue up the fingerboard as high as possible. Example: Dp, (DP-f) first fret; D, (Db-f) second fret; Eb, (DP-f) third fret, ete. Apply the same procedure to other formations,1 Mod, rast 5 Pos. (Ab-f) (Db-t) 7 7 7 7 "PR P - means Pick-Rest-Pick “T Pos. (Ab-£) : £ (3) Moa 7 Pos. (F-£) (ob-1) @ Moa. +5 Pos, (Ab-f) maz | Cma.7 = 7 * Also playable - 7 Pos. (F-f) SOCHOHSHSHSHSHSHSHSSHSHSHSHSHHSHHSHSSHHSHSHHOSHSSHOCHOCOSSESEOPSHSOHSHSHSHOSHSSHOHOHSHSSHOSH SOSHSHOHOHHSHSEOOEOOOO 17 Pos. (Eb-t) @ Mod, fast 5 Pos. (Ab-f) ‘iss (ab-0) (Db-t) ] Mod, fast 5 Pos. (F-f) ** PRP - means Pick ~ Rest - PickMod. (10 Mod. #2 Pos. (F-1) * Also playable in the 5th, 7th and 9th positions. (1D Mod. tast Mod, fast 8 Pos. (Bb) py y ee ope he 5, (Ab-) crepe OO toEb | Bat (13) Mod. 5 Pos. (F-f) (eb-£) (ab-£) (Db -£) da ) oO?1 Moa. 7 Pos. (F-f) Mod, fast 5 Pos. (EG Med. 3 Pos. (Mod, fast 2 Pos. 2 Pos. Dis 613) (Bb-1)(1B Moa 5 Pos. (Ab-f) —. 1 Moa 2 Pos. (Db-f) +) Moa Fo pos, (ob) wp an 21) Mod 3 Pos. (Db-f) 0PO OOOCOOHOEOOOOOOOOOEHDOOHOO HH OSHOOOO HOSS HS OS ONES ‘Mod. 8 Pos. (F-1) (ab- r-) (bt) [BB Mod. 7 Pos. (Ab-f) (B)-£) (Ft) [2B Med. 5 Pos. (ab-1) Med. Up tempo 7 Pos. (F-f) =2B Mod. fast EE Mod. fast 5 Pos. (F-f) (Bb-1) 5 Pos. (Eb-f) (28 Med, 2 Pos. 3 Pos. (2B Mod, fast 5 Pos. (F-f) > ’ {30 Mod. ww 5 Pos. (ob-1) (eb-1) (Ab -f) (Db-t) 10o. e e re e ® e e ® e ° ® a eo e e DS HOHSCOOHHSOHHOOHSOH OOOO Mod. fast 7 Pos. 6 Pos, 5 Pos. (F-1) (38 Mod, fast 9 Pe 7 Pos. (F -£) orig Pos. (Ab-t) Cm (E86) u5] Mod. 7 Pos. (Ab -f) 8 Pos. (Eb-f) (ab -t) by ‘Eb6 (E513) 5 Pos. 4 Pos. 5 Pos. iia Met (Db -£) Gl Mod, & Pos. (eb-£) We 12am = 4 Pos. (8-1) ob (e-1 oe oe. e. o- e Mod, fast e 7 Pos. on _~ _~ — F-1) e e e ® ~ (ai) Moa. 5 Pos. (F-f) c 3 2) Mea 9 Pos. (pb-f) ey (Bb-t) 2 13 ® e e. e e » e e e e a e e e e e e e e e e ® e e ® aUp tempo 7 Pos. (F-f) 7 Pos. (Db-f) GS} Mod, fast 5 Pos. (F-f) Mod, fast 5 Pos. (F-f) (Bb-£) 6 Pos. (Bb-1) “ 5 Pos. (F-£) bg (b -) COSCO VTOOOHOOCOOCEOHOOOEDOO(i) Mod. 3 Pos. | BT Mod. fast 5 Pos. (F-1) {&W Up tempo 12 Pos. 8 Pos. 7 Pos. 10 Pos. 4 Fma.7 _———— 8 Pos. (Ab-f) 15 PP PIOSHOHHSESSHHOSTOTEHSSTOSHOHESSO COSCO THOLECOVEODC®O(Sl Mod. 5 Pos. 4 Pos. 3 Pos. DOBDISHSSSSHSSCHHSSHSHSHNSSTOHROOOHEOSOOHHOHSOEOOOHREODOO (52 Mod. fast 4 Pos. (Bb-f) (5B) Mod. fast 5 Pos. ‘Mod. 5 Pos. (BP-1) 16Mod, fast 9 Pos. (B>-f) (eb -£) &F Slowly Mod, fast 3 Pos. (Db-£) 5 Pos. (F-f) ( 7 Pos. (Ab-f) (Db-1) — ” POHOOHSSHOSSHSHSHSHOHSHSHHHOHSSHSHHSHHHSSHOHOHHHSOSHSOOOCESlowly 5 Pos. 5 Pos. E + F 7 peo BW 5) Em7(11) a7#5. | pTsust GT = APT. GT (Gl) Mod, fast @ Moa. 5 Pos. (F-f) 5 Pos. (Db-f) (G3 Moa, 4 Pos, (Bb-f) @® Siowly 5 Pos. (Ab-f) en) (Bh-1) e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e[Bl Moa. 2 Pos. (Gj Mod. up ‘ Mod *1 Pos, (Bb-f) (ab-£) (F-1) 4 * Also playable in the Sth and 2nd positions, 199) Mod, fast EBoe» h-t) [7 Mod. 5 Pos. m7 Fibs Bb Mod. i 8 Pos. (ob-t) (abt) _ (7 Mod. fast 5 Pos. (Db-f) - FS SSHOHSHOHHSHHOHSSHSHHHHSHSHHSHOSHSHHHHSHHOSOHEHOOCHOOOOEOOSc mea 4 pos. (0b-1) ecoo COCk Coo’ n ‘ [5] Moa, 8 Pos. (Bb-t) TA Mod. Mad 7 Pos. (Db-t) sg. 1 Pos. 7 Pos. (Ab-f) Ce i (ref) we ee c (7G) Mod. 7 Pos. =b/F Cmi (7a Slowly 2 Pos. (F-f) ce) a SOSOHSHSOHOHSHSHSHSSHHSHHSHSHSHSSHSHSHHOHHSHHSHHSOHSHSEOOOO t r[TB Up tempo 7 Pos. 7B Noa. - Pos. (0b eat) 8 Pos. (Ab- (ob- ~ (BO Mod, fast 8 Pos. (I) Med, 5 Pos. 2El Moa, Slowly ‘7 Pos. (Ab-f) 7 (ob-£) 1 Pos. (F-£) 7 a Slowly, (Db-t) & -1) 7 Pos. (Ab-f) 23 SOHHOHHOHHOHHEHOHCOHOOOOOSC ESEES SCOCHSOCHO OH POOH S HOD S DPSSMoa 7 Pos. (Ab-t) ob 4 - ) ) SOCHOHSHSHSHSHSHSHSSHSSHSHSHSSSHHHHSHHSSHHSHHSHSSHSSHSOOHCOESESE o>SPSCHOHSHSHOSHSHSHSHHHSHSHHHSS HSOSHOHSSHOHOHSHSHSHOHHSCOHCOEOEHOOSOOCE I Moa, 5 Pos. (Bb-£) (ob-) -n Slowly 5 Pos. (F-£) 2 Pos. (Bb-1) | clu+ BT > . Mod, fast T Pos. (F-£)__ Mod. 5 Pos. (Eb -f) o Gm v 7 7 25Mod, 5 Pos. Med, 5 Pos. (Eb-f) Mod, fast 11 Pos, (Bb-f) BYT hold chord (ab-t) 26 10 Pos. (F-£) —, (ob-1) e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e eai t (100 Moa. 5 Pos. (Ab-f) (ob-£) F-f) Ce Slowly 1 Pos. (Db-t) (wb-t) . om as (103) Moa. (102) Mod. ‘7 Pos. (Ab-f) 5 Pos. (F-f) Mod. fast 7 Pos. 9 Pos. a1 SPSHOHHSSHHHSHHHHHHHHSH SOTTO HSHSHHHHHOHHOOOSEOHSOOOS{114 Moa, 7 Pos. (Ab-f) . Slowly 4 Pos. | Am7 pis (118 Mod. fast 8 Pos. (Db-f) | ab (1 Mod. fast 10 Pos, (Bb-f) at y FR G 30 2 Pos. 8 Pos. (ab-t) —~ BbT toEbSSHOHHOSHOHHHSHSHHHSHHHHS SOS VOHSOHOHOSSHHOHSOHOHOOOOSSOOSSOOO Mod, 7 Pos. (F-1) (ab-1) @-) Amt (C8) 7 > 9 Mod, 5 Pos. (Eb-f) (ab-t) (D>-£) by = 3 = 7 Mod, fast 21 Slowly 3 Pos, (F-t) 3 Pos, (Bb-f) (F-1) (123 Mea. 31e e e (123 Mod, ° 5 Pos. 5 3 3 3 ° e e Bb ° e e e e e (12) Moa, fast ° 5 Pos. (Eb-t) 3 Pos. (F-1) e Z e e GT $ e e e e e (25) Slowly : 3 3 3 e e e Bho et . e e e e uate » (ob-t) ° abn @b-1) (ab-t) $ on ° e e “e@ e e 32 : ev 4 Mod, D Pos, (F-t) (h-p 0-4) n (28 Mod. (29 Mea, 5 Pos. (DP-f) 150 Fast 7 Pos. (F-f) —~ 33(30 Fast 10 Pos. (Ab-f) ‘Mod, 9 Pos. (B>-f) 7 Pos. (Db-f) (F-) Am(a7) SOCHOSNHSHSSSHSHHSHSHSHSHOHSSSHSHSHSHSSHSHSHSHSHOHHSHSEHESSOOSOOOSn « Up tempo 12 Pos. 9 Pos. ‘ n ‘Mod. fast (37 Mod. 2 Pos. (Bb-£) (F-f) 3 Pos. (F-£) (atts) GL1+ (Db75) Mod. fast 2 Pos. (F-f) 3 Pos. (pb-t) Mod. fast (ab-t) (abt) D-) (ab-9) 7 Pos. (Eb-f) an so =f) (F-) 35 PS SOHHHOSHOHSHHHHSHHHS SHOHSEHOHOHHHSOHSHHHSOHHSSOOSECOE(40 Mod, fast 7 Pos. (Bb-f) ben Med. 2 Moa. 13 Moa. 5 Pos. (Bb-f) (oh) 7 Pos. @P-1) Ebi1+ (Bbm6) (TED Moa, ‘7 Pos. (Ab-f) 3 (ob-1) 36 > ) & SHCHCHOSHHSSOHSHSSHHOHSHHSSSHSSHHOHSSOSHSHHSHSHOSHOOHOSTOOOCESORMod, 8 Pos. (Ab-t) (pb-t) —————— ‘Mod. 5 Pos. (Ab-f) F c BT (C) (47) Mod, 3 Boa, 3 Pos. (F-£) 5 Pos. Mod. fast 1 Pos. (Ab-f) 8 Pos. 9 Pos. egos ar e. oe e oe oe oa » 2 e. e 2 oe e e e e ” e e. rs oe oe oe ? s e ® e e e e e e e ® e e e » e e e e e13 Moa. 5 Pos. (F-f) (ohn 4 | Bhi 3 50 Moa, 5 Pos. (B)-1) en (oh-t) (150) Stowty 5 Pos, cm? rt_—abmt Dt Gm ct 7 Pos. (F-f) (Bb-t) ct ; | 38 e e e e e e e e e e e e e e e e e e e e e e e ¢ e e e e e e e e e e e e e e e “¢6é e e e 2« c Slowly al, 5 Pos. (Bb-£) 4 Pos. 7 Pos. (F-t) 4 8 Pos. (F-) (57) Moa, 1 Pos. (Ab-£) (0b-£) 39 OS SOSH HOSTS SSSSOHTES HSOHHHHHSSHISCHSHOVSEGCHVSEHHOOOUE(158) Mod. (b-1) (159 Moa, @ Pos. (ab-t) —(DP-f) e- (abt) @b-1) Eb (TGQ Slowly 7 Cma.7 Fma.7 Bbma.7 | Ebma.7 + (161) Mod. fast 7 Pos. (ab-1) 40 e é e e e e e e e e e e e 6 6 e e e e e e e e 6 e ° e e « e e ® e o e e e e e 6 6 e e e e eaeee (1B Mod, fast 8 Pos, 1163) Moa, 1 Pos. Mod. T Pos. (Db-t) f 1 Pos. (F-f) 41 5 Pos. (F-1) tol C (Cm7)(168 Mod. fast 1 Pos. (F-f) hn 187] Mod. fast 5 Pos. (Ab-f) 3'Pos. 2 3 2 Pos. 3 Pos. 42 e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e oOSPOHOHHOHSHOHHSHHSHSHHHSHS SHOSCHSOHHOHHOHHHOHOHHCOHOEOSOE ‘Mod. 7 Pos. (F-f) ‘Mod, fast 5 Pos. (Bb-£) 173) Moa. 43 (F-£)Moa. 4 Pos. (F-f) 9 Pos. (7G Med. fast 7 Pos. (Db-f) Mod. 1 Pos, (Bb-t) 6 Pos. (Bb-t) (F-f) 44 2 Pos. (F-f) 4 Pos, (77) Mod, fast 7 Pos. (Ab-t) (0b-t) SOHCHOSHSHHSSHSHHOHSHSHOSHSHSSHHSHHOHSHSHHOHHOHOHHHHOCESEOOOCEEEODOOOCOOOOH OOOOH OOOOOS OOO OOHOOOOOSOOOHOHOOSE HOH OO OD ZB Stowly ‘Mod. fast 7 Pos. (F-£) ane . 3 (180) Mod. 2 Pos. (Bh-f) (ab-1) | cma. AmT ra SS (182 Moa. 1 Pos. (DP-£) (ab-t) 3 | G BT 7 ; 458 Pos. (Ab-t) [ED Moa, 9 Pos. (F-f) [185 Slowly ag: Ty 1 Pos. f-) 46 2 Pos. 2 (b-t) (ob -t) d0 i)(187) Mod, fast 7 Pos. Mod, Mod. fast 7 Pos. (F-£) 7 Pos. (Ab-f) 3 I - ‘Mod. 7 Pos. (F-f) (ab-t) (b-t) a7 PSOOHHHOHOHHOHOOOO HS OOO HOHOOSOHOOOHOHOSOOSO HOSESSlowly Pos. 3 bp 2 | GT Ab13 DIT | C9 ATGT7 GhT C79 | F13 5 SS - t Mod, fast @-0 5 Pos. (F-f) 6 Pos. (Ab-f) (Db -f) 5 Pos. (F-£) I Bb Mod. 5 Pos. | = (195) Mod. 8 Pos. (Ab-f) | ; Eb (Db -f) ; d 48 1 )bere e ee ( DO SOO 0000000000000 0088088 138 Moa. T Pos. (F-) en 10 Pos. (Db-£) ; 7 + Med, (Bb-f E Poe BN” ayy Mod, 4 Pos. (Bb-f) Ye . (b-1) 199 Mod, 5 Pos. (Bb-f) Ebma? 49[209 Moa. 7 Pos. (Ab-t) | Am7 DT |Abma.7 8 Pos. (Db-f) T 7 Pos. (Db-f) 50 6 Pos. (Db-f) to F (or Cm 5 Pos. (Bb-f)£€ Slowly 4 Pos. (Bb-f) 5 Pos. (arf) (F-f) i ¢ fi t Bounce 7 Pos. (F-£) 4 bs ‘ (Bb-t) va cr -———_49___» — a (207] Med, fast ‘1 Pos. (F-f) 3 5Pos. 3 Pos, 1 Pos. 2 Pos. (F-£) =F 51 DOSHSHSHSHOOHOHSHOSHHSHSHHS SHHOHHOSHHSHSHSSHHSOHHHHHSHOOSOEES PSMod, fast 10 Pos. B Pos. 7 Pos. 8 Pos. | | fod, fast 5 Pos. (F-f) (211) Mod. fast (213 Mod. fast ~ 6 Pos. (F-f) ‘T Pos. (Ab-f) = | : ty 7 + + > BIS stowly 3 Pos. (B)-f) 1 Pos. cm ) sz e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e _@ e e e e e e e e \e@ e e yD‘Mod 7 Pos. (Db-t) ‘Mod, 5 Pos. (kb-£) (Ab-f) (D>-t) Slowly 5 Pos. 53 OPCOOOCOCOOOSOEOOOOS SEH OOSOOSEOEHEHOTOOOHEOHOEDODEET3 Mod. 0 1 Pos. (Bb-f) iri | 7 7 7 - [220 Mod, fast 4 Pos. (Bb-1) 221) Fast 7 Pos. (Db-f) m= d> ) SCSCHSHSHSHSHSHSSHSHSHSSHSSHHOSSEHHOHSHOHHSHSSHSHHSHOSOHOESHOOCOOCE OVI)CCCOHOCOOCOCOH TOE COOH DORR OCECOREELEOE Mod, | Fast 9 Pos, (Bb-f) | 55 12 Pos.Slowly 8 Pos. (Ab-f) (Db-t) (ab-£) (ab-f) 6 Pos. (Bb-f) 5 Pos. (Ab-t) e ° e e © e e e e _@ * e e e -@ _e@ e e e e e e mm -e@ e © e e e e * e e e e e 56 rnOS SOO OOOHSHSSHIOHOSCHCSHSE OHV HOC000 0000080080 ‘Mod, 7 Pos. (Bb -f) 231] Mod. Mod. 5 Pos. (Db-f) 4 1 22 am2,) (Ft) 87 2 5 Pos. (F-£] (233) Mod. fast ‘7 Pos. (Db-f)Med. (256) Mod. (ob- 12 Pos. (Db-f) 1, Mod. 7 Pos. (Ab-f) (Db-f) (F-f) —— SSSSSSSSHSHSEDPOHHHHSHSHHOHHHHSHHOSPHSOCHOHCHOEOCOHOSCEDS Ree)’ SOHSECEOE BE TOSO CLOVE PO POSSHHSASOHSHEOHHODAHVEOE ‘Mod. 5 Pos. (F-f) i | Mod. fast 2 Pos. a G7 (7) 7 3 Pos, 4 Pos, 4 6 Pos, 7 Pos, 10 Pos. 8 Pos. 3 1 Pos. (241) Moa, 5 Pos. (Db-f) toDm|| Am7 Abm7 T Pos. 6 Pos. 5 Pos. Af ids, At 3 59Med. fast (@-£) (7 Pos.) 245) Moa. 8 Pos. (Ab-f) Mod, fast, 5 Pos. (Db-f) 2A Stowly 60 (Bb-f) POFLHSSOSHDSHSSSHHSFHSHSIAHSHHHHRDSOSHOSCHOAHOSCHSOHEOOOSCO OOOCOO OOOO COOOOOOOOOTOOSOOOOOHHOOHOOHEEOOEHOLOE Up tempo 9 Pos. (Eb-f) (248) Slowly 10 Pos. (Ab-f) ‘Mod. fast 7 Pos, (F-f) Slowly 1 Pos. (-t) : ‘Mod. fast 5 Pos. (Ab-f) (F-f) élup 10 Pos. (Ab-f) b +5 ho (B53) Mod. by y ) } (258 Mod. 8 Pos. 1 Pos. >.) ) ' SOCHOHOHHSHSSSHSHSSHSHSHSHSHOHHOHSHHSSHHHHOHCHHOHOOOOOS ) ) ) ) ) ) Mod, fast 10 Pos. (Ab-f) ) ) ) ) ) ) ) ,d eee 62 -eDOSHOHOSHOHHHOHHHHOAOOEHOOHORAOEE @eeeeqoeqqoooreeeee Med, 5 Pos. (F-f) 7 Pos. (ab-£) bt) 5 Pos. (F-f) on (oP-) ae “GES “EERE Holdchora Hold chord Hold chong Cib9 (13) 67 7 7 7 5 : 3 7 [262] Mod. fast 1 pos. (F-£) BI] Mod, fast 5 Pos. (ab -£) (pb-t) a ¥ 2D 3 ) 253) slowly “a ~29)) ) Fast 10 Pos. (Db-f) aw Mw sa iS . Bb “~ e e e _@ e e e e e e e e e e e e e e e e e e e 1 Pos. e e e e e e e e e e e e e e e e e e e@ e e e e e e rp coUp tempo 8 Pos. (Ab-1) F13b9 to F or Cm?(263, Mod. Slowly 5 Pos. 4 Pos. 3 Pos. = Ab abi3+5—DbT Gmi7(11) ‘Mod, (272 Mod, 7 Pos, (F-f) (Bb -f) 5 Pos. (Bb-f) (ob-t) Vib, - Mod. 3 Pos. (Db-f) (eb-t) (Ab-t) (pb-t) ) yO o>Ce & ‘Med, fast 5 Pos. (ob-) « Slowly 5 Pos. 10 Pos. 1 Pos. 4 Pos. 1 Pos. os ? 7 CT, BPI, FHT (Gb) ACT 3 3 3 7 (27 Stowly 5 Pos. 7 Pos. , 5 Pos. 6 Pos. 7SOCOHSHOSSHSHSHOSHOSHSSHHSHSHSHSHSHSHSSSHHSSHHHOHOSHSHSOSHCOES ' rece cceie (ob-1) 68 7 Pos. (Ab-f) 2 Pos, Mod. fast Slowly pre(283) Moa. 9 Pos. (Db-£) 85] Mod. fast 7 Pos. (Db-t) en DSO HOO HAHAHOOHASOHHHHOHEHHOOHH HOHE OOOH EEL EOOOCSMed, fast (8 Pos.) (Ab-f) | Eb Abms Mod, fast 5 Pos. 7 DT & (BBD Med. 8 Pos. (Ab-t) | DT ~ 7 Slowly 4 Pos. 70 (ob-t) 6 (Cm)5 Pos, (P-t) by (292) Mod. 9 Pos. (F=f) Mod, fast ds 4 Pos. (Bb-f) 3 Pos. 5 Pos. (F=f) ot) Slowly 1 Pos, 7 DT By AT DbT DT | Gm nMod 7 Pos. (Ab-f) (Db-£) Up tempo n e e e e e e e e e e e e e e e e e e e e e e e e - @ e e e e e e e e e e e e _@ _@ e e _ @ e e e e e eca(+5)| F 5 Pos, 4 Pos. pecccvccesosee Mod. fast Slowly 8 Pos, (Bb-f) 3 Pos. (Bb-f) 11 Pos. (F-f) Cm |(ma.7) | Bb7 m7) 73 e e e e e e e e e eaMod, 5 Pos. (F-f) ‘Mod. 1 Pos. 10 Pos.baes Ag h244 2. 1 Pos. i Sata t 0D Slowly 7 Pos, (Ab-f) or _ (oh-1) ) (B08 Stowly 5 Pos. (F -f) (Bb -1) ) ’ ) ™ rd) ee CO COCOOOCOOOOOOECOOOOOOOOEOOOE OOOO OOOO OOOOOOE Oo- (ab-1) 8 Pos. (Abt) @h-1) | abms (Ebm7) Mod, fast lanai 5 Pos. (Db-t) ae enc alG ) 15(513) Mod. 8 Pos. 7 Pos. 5 Pos. | GQ Fast 1 Pos. 5 Pos. 3 Pos. 1 Pos. 3 Pos. 4 Pos. (515) Mod, fast 7 Pos, (F-f) (316) Moa, Fs a Am - 7 7S : {B17 Slowly 1 Pos. (Ab-t) a> (Db-£) E 16 e e e e e e e e e e e e e e e e e e e e e € e e e e e e e e e e e @ e e e e e e e e e e e e e eeee rare [BI Mod, fast > LG Moa. 1 Pos. (Db-t) Mod. 3 Pos. | Atb9 ‘Mod. fast 5 Pos. (Ab-t) n DPS OSHSSOSHHSSHESHOVDHEOS VOGCHOHHTSSEOSOSVSESCHOOSOOHOS[523 Mod, (E20 Moa. 3 Pos. =a? Fm7 B25) Mod. 5 Pos. (Eb-t) (ab-£) 8 -1) GTtocT SSOOSSOOHOHOHEHOHEOOSFOHOOOHXSHOHOEHOSTOHOOOOOOOCOBEOSC4 € « ¢ Slowly 5 Pos. 4 Pos. 3 Pos. 2 Pos. Slowly 10 Pos. 2 Pos. (F-t) 4 Pos. 2 Pos. 3 7 3 T Mod. 8 Pos. (Db-f) (ab-t) Slowly 5 Pos. (Db-f) 7 D7b9 (+5) 7” SP SOSH POSH SSH SSOKHFOS VOVHOHH IS ESCOHHTETHHOEHOOHOOTO®OMod, 7 Pos. (Ab-t) | B31) Moa. 5 Pos. (Bb-f) | Ebma.7 (EIQ Mod, fast 8 Pos. (B)-f) lowly 5 Pos. (Ab-f) cr | (Db-t) (f)-f) abm7(Bma.7) (Ab-£) e e e e e e e e e e e e e e e e e e € e ° e e e e e e e e e € e e e e e e e e e e e5 Pos. G37 Stow 2 Pos. 4 Pos. 2 Pos. aL DOOSHOHHSHSOHSHHHHSHHSSHHHSSHOHHSHSHSHSHHSHHSHHHHSHOHSHSHHHHOOOEOO(538 Moa, 5 Pos. (Db-f) 6 Pos. (Db-f) 1 Pos. Bm6(7) [539 Mod, fast 5 Pos. (Ab-f) (pb-t) (540) Slowly cae (ab- or GET slowly 5 Pos. les eret oi Fma.1 (Dm) 7 wos 7 7 SOCHOHSSHSHSHSSSHSHHSHSHHSSSHHSHOHOSHSHSHOHSSHHOHHHSSEHOHHOOOEOEev. ev @~ > BD Mod, fast 6 Pos, eu: 12 Pos. 11 P95. 10 Pos.g pog8 Pos. 7 Pos. : 5 5 Pos. « € C BAS) Slowly BiRoe. 1 Pos, b 3 Pos. “ 83@O80E S808 cree ge ( ( C4 ececceeccecee eee ce ¢ Great Music at Your Fingertips