SCOFIELD time my handsjohn SCOFIELD time my hands Guitar Transcriptions by KEN CHIPKIN COPYRIGHT © 1991 CPPBELWIN, INC. 18800 NXZ 48TH AVENUE, MIAMI, FLORIDA 33014 INTERNATIONAL COPYRIGHT SECURED MADEINUSA. ALL RIGHTS RESERVED ALBUM ART: © 1990 CAPITOL RECORDS, INC. EDITOR: AARON STANG PRODUCTION COORDINATOR: CAROL CUELLAR ‘ALBUM COVER DESIGN: PATRICK ROQUES ALBUM PHOTOGRAPH CAROL FRIEDMAN ‘WARNING: ANY DUPLICATION, ADAPTATION OR ARRANGEMENT OF THE COMPOSITIONS CONTAINED IN ‘THIS COLLECTION, WITHOUT THE WRITTEN CONSENT OF THE OWNER IS AN INFRINGEMENT OF US. (COPYRIGHT LAWAND SUBJECT TO THE PENALTIES AND LIABILITIES PROVIDED THEREIN.INTRODUCTION T’d like thank Kenn Chipkin for his transcriptions of my work and his attention to detail. [think itt noteworthy thatthe book includes the lead sheets to the tunes just as the other musicians received them at the recording session. Ifyou listen to the record tohile checking out the lead sheets, you can see how the music is open to interpretation. Don't forget that these transcriptions are from spontaneous, loose improvisations. Youll ned to pair them with the recording to hear the dialogue between the musicians. Those parts improvised by Charlie Haden, Jack DeJohnette and Joe Lovano aren transcribed here, but its better that you listen to them as well to understand the guitar solos! One word about “TAB”... hope all young guitarists out there realize that written music is still the primary mode for communicating musical ideas between musicians. Having at least a basic under standing of writien music is almost essential in jazz if you twant to play with other people. ‘Time On My Hands was a great experince for me... hope this book helps all interested partes “get into” the music even more. Thanks for being among them! fol John Scofield ABOUT THE BOOK Let it be known that without John Scofield’ contribution to the making of this book, it would simply not be on the level itis on. John made the time to meet with me at his home in New York City for the ‘purpose of nailing down as much musical fact as possible in order to make this book as accurate as it could be. From this meeting came a video tape of Scofield patiently playing all the written parts to the songs on Time On My Hands so we could assure perfection inthe tablature and give me cues to work from during the transcribing process. Understandably, the solos would be too difficult and time con- suming to reproduce for video, so the tablature should therefore be considered a suggested approach for positioning and fingering. This book is unique in that it includes lead sheets forthe songs exactly the way Scofield wrote them, allowing us the opportunity to experience the evolution of this music. Once Thad transcribed the music, John supervised the work and fielded a truckload of questions ranging ‘from general to microscopic by way of telephone and fax while on tour in Europe. Saxophonist Joe _ Lovano was kind enough to edit and contribute phrase markings to the saxophone transcriptions as they appear in this book. T hope that you enjoy and learn from this wonderful music. fer Chath Kenn Chipkin72 54 77 31 27 63 16 20 41 65 92 90 93 87 86 89 84 85 88s 91 83 CONTENTS TRANSCRIPTIONS BE HEAR Now FARMACOLOGY Fat Lip FLOWER POWER Let’s Say WE Dip NOCTURNAL MISSION SINCE You ASKED So SUE ME STRANGER TO THE LIGHT TIME AND TIDE WABASH IIT LEAD SHEETS BE HEAR Now FARMACOLOGY Fat Lip FLOWER POWER EGS SAN WA] | Did) NOCTURNAL MISSION SINCE YOU ASKED So SUE ME STRANGER TO THE LIGHT TIME AND TIDE WasBasH IIIWABASH II Composed by Medium fast J = 200 JOHN SCOFIELD [al] ze ~ ee SS z i nf ceeneee Oe * D note i sounded by pushing string of the fretboard. a Fr (pee ah ee Wabash 10-1 ‘Copyright © 1990 SCOWAY MUSIC (BMI) Inzeatinal Copyigh Secured Made in US.A. All Rights Reserved2nd time to Coda BT Guitar solo Ist Chorus: Fr 27 x = ‘Wabash 10-2BT Webaah it -10-3| | | [eseoeee ee as ‘Wabash It -10-4or ‘Wabash t= 10- 5| ’ — - - SS) SS A ——— et SS 40-10-10 10 = ee +356 EB ———— —— — oO Trade (eights) ‘Saxophone solo Bass solo Guitar Webssh t= 10-610 Wabash I= 10-7(Fours) = Wabash 10-82 BT a FI BT a | | | Wabash 10-9Wabash I-10 10WABASH III Wabash IITis an unpredictable blues in F The head isa 32-bar form divided by the (A] and [B] sections with the melody developing from The [B] section contrasts with a slower moving melody where Scofield plays double stops, creating a third voice (the saxophone doubles the melody) that both ‘harmonizes and serves as counterpoint to the melody. Another point of contrast in this section is the harmonic rhythm as it changes symmetrically every 2 bars: |IBb?(IV)! "fe 1C?(V)I “le Dm’ (vi) fe IC(V)| %e II Scofield begins his three-chorus solo with a good deal of syncopation and rhythmic freedom. This begins the “slow burn” effect that builds up to driving consecutive eighth notes by the third chorus. Note his fluidity of phrase and articulation, joined by the logic and intent of his lines. Scofield’ har monic approach often defies the trappings of common guitar playing, avoiding riffs and preconceived ‘fingerboard “shapes.” He manages to make musical statements that could be heard played on any instrument, while always reminding you with his intense subtlety and sense of humo that the guitar is his instrument. John makes use ofa number of different “sounds” with a natural sense of balance. These sounds, or scales, include F mixolydian, F pentatonic major, F pentatonic minox, Bp mixolyd- ian and C altered (C DbEbE F # Ab Bb). Because of the common tones these scales share, and the ‘fragmented way in which Scofield uses them (which is an inherent trait in jazz improvisation), the ambiguity of any given situation can often times make it difficult or impossible to pin down in analy- sis. Itcan only benefit you to see these ambiguities in as many ways as possible. Points Of Interest: The firs eight bars of the solo can be heard as a shifting of F pentatonic major and F pentatonic minoy something that Scofield often does over dominant chords. Clear cut examples of mixolydian over the I chord (F') can be found in bard 9-1 and 25-27 of this same chorus; and bars 25-27 of the 2nd chorus (the Ab isa passing tone here). Check out how he responds upon the change to the IV chord, integrating the solo throughout by rhythmically accentuating the third of the chord. Similarexamples are prevalent in responseto the third of the V chord. Some of the more dissonant and complex lines in this solo make use of certain modes that have been augmented by Scofield’ highly original use of chromaticism and should be studied and interpreted in your own way. Bars 5-7 (2nd chorus) appear to be C altered, resolving to the third of the Ichord smack on the downbeat of bar 8. Bars 9-1] (2nd chorus) could be heard as F mixolydian with some chromaticism resolving to the third of the IV chord (D) in bar 12. Bars 29 and 30 capture a sound that Scofield often uses over dominant chonds. The tones, as they relate to the V" chord, are respectively: 43, b3, 46, b7, # 11, (7), 63, 43, b3, thrust of the sound here could be thought of as C symmetrical diminished, agai down. Try thinking of itas tensions on a C’ chord that create a jagged linear shape where some notes resolve (to chord tones) and others do not. Follow measures 14-24 of the 3rd chorus and study Scofield seamless chord connection ability. These measures have a high level of tension and release on rwo levels: rise and fall of line (contour), and harmonic movement (tension and resolution). fier the saxophone and bass solos, you will hear a highly complimentary dialogue between Scofield and Lovano.SINCE YOU ASKED This beautiful ballad begins with a “chord-melody” approach which has become a standard practice for Scofield when playing his ballads live. Everything about this tune; form (AABA), melody and chonds, prove that there is beauty in simplicity. One thing that all Scofield’ tunes have in common is strong chord movement. Whether the progression moves in r00t position chords or inversions, the strength and gravity of the changes in his music are 5) Domaj7 cm Fn? 2nd time to Coda Bb Tsus cm aS oS SS “Sis 2 a oe Jann ek 4. ah 3 ere | AIG5) D169) Gta, a Since You Asked. 4-2cat Bal Dats) Dea cal Fa? BT AT abmaj7 Dymaj7 By Tas m7 * Bend and pay note thea immediatly fade in w/vcl kn, fe Dats) Dbmaj cm Fa? BT Ar ‘Av Taj7 Domaj7 Bb Tews cm? Fralt, By Tah,19 Bmaj7 or Dmaj7 Efsus Fa? Bhsus Bb7(9) Dy A165) D Gat. cm? Bm? car AX AD. 7109) i Coda rt B67 67013) Cass P-f aSO SUE ME Medium Latin 4 = 176 ‘Composed by 6% JOHN SCOFIELD Drum intro: —I— "Gir and sax contin in wrison. To Coda (Copyright © 1990 SCOWAY MUSIC (BM) International Copyright Secured Made in US.A. All Rights Reserveda —3 — To Coda I) Guitar solo (2nd time) (both notes vib) fr [ me = [ [es soSueMe-6-2* Dis sounded upon pall-off rom te 3rd finger.* Dis sounded upon pull-of fom 3d finger.DS.% al Coda ~_ oe et eae SS Pn + ¢ (s\~3—~ 3-38) ———3- 4 a ee ee tee ob == ee [eee] 0 DSS.%% al Coda It Coda I , as Saxophone Solo: < £455 be eee oo (Free time) pS Erte = Le 9 pee fe? ate — —— a ong) oe Free time 2 SoSut Me-6-6SO SUE ME What do you get when you mix “Tequila,” Delta Blues, Ornette Coleman and Tex Mex? That’ right, John Scofield. If you listen to his originals, you will find that they are influenced by almost every ‘conceivable style of American music. section starts out with a nod to the song “Tequila” and changes at bar 4 where we get a pattern in minor thirds ascending in whole steps. Notice how the blues cliche in bars 2 and 3 of the second ending is developed to create [B). In this song’ case, John insisted there be no chord symbols so as not to influence you in any one direction harmonically. The solo section is open blowing in and around G, with eight bar phrases marked by double bar lines. Scofield and Haden get pretty far out of town harmonically; following each other on tangents to different tonal centers, playing heads-up and with ears wide-open. The first phrase is very inside, with some clear-cut melodic ideas in G mixolydian. Phrase 2 bends the ear with consecutive major 7th double stops in bars land 2. Inthe last two bars of this phrase, we find a characteristic Scofield lick where the interoal of a major 6th is sequenced downward implying the movement of sus4-3-1 (respectively) of any major triad (ie. bar 7: A-G #-B, (sus4-3-1 of E), and in bar 8 G-F % -D (sus4-3-1 of D). Bars land 2 of phrase 5 begin with a series of double stops unde- rpinned by Charlie tonal center of Db (tritone substitution for G). In the first three and a half bars of phrase 6, Haden is seting up what appears to bea B tonal center (listen for B-F % -B: I-V-1) while Scofield is stretching the tonality, winding up with what sounds like F minor pentatonic in bars 3 and 4, resolving to G minor pentatonic in bar 5. Bars 6 and 7 contain a common Scofield groove: double stops with a moving melodic line and a common tone (in this case, G pentatonic minor). In phrase 7, he stays with the idea as it integrates the shifting of keys: Bb (bars I-5), Ab (bars 6-8) and returning to G (Ist bar of phrase 8). The rest of phrase 8 is centered around G minor pentatonic with a twist or two. Speaking of twists, the first halfof phrase 9s sort ofa twisted G minor pentatonic. Try thinking of itas G minor pentatonic with a b9 (Ab) substituting forthe root (G). The sound of two consecutive minor 3nds a major 6th apart is a sound and shape that Scofield is attracted to and bars 1-4 are based on this relationship (F-Ab, D-F). The remainder ofthe solo (phrases 10-12) is packed with double tops using ‘a common tone and turns of phrase that we've come to expect of John.7 LET’S SAY WE DID Composed by JOHN SCOFIELD Be7sus Cm? AS mai? Slow 4 = 92 Wir AS majy AbmaiT 2 ‘Bb 7sus m7 ‘Ab maj7 Bb7sus Cm7 Db 7sus. hme 7 + ; Se * Saxophone solos over [B] 2nd time. Amb5) Aon? Ghm71) mies) F7 Let's Sey WeDid-3-1 Copyright © 1990 SCOWAY MUSIC (BMI) International Copyright Secured Made in US.A. All Righs Reserved2nd time to Coda Bsus. Cm? Abmaj7 . Bree On Aba? Bb sus ca? Abmaj7 BY Tus ‘Abmj? sus a a ‘i Bo7s ca aomi7 Bb sus om Lats Sey We Did-3-229 Avmaj7 Bb sus cm? Fm7 B/G ‘Ad lib, duet Avmj7 Bo Tous ‘Abmaj7@10) BH Tous cat Saxophone a, “kt 2... ~ Armi7G1) y, Bb Tous cu? Abmaj7@11) LatsSey We Did -3-3LET’S SAY WE DID The changes in the [A] section may be heard as I-bVII-iti in Ab, oras Scofield hears it: BVI-bVIT-i in Cmwhich explains the key signature. Once again, simplicity conquers all with an angelic melody that is suported by a passive 3-chord background. The [A] melody owes its character to the D note that recurs cover the Abma;’ chord, which in effect, gives us Abmaj’ % 11. The [B] section isan II bar phrase with the groove changing to a steady quarter note pulse, while the chords move unpredictably, contrasting [A] beautifully. The [C] section is a repetition of [A] with a 2 bar tag into the solo section. John’ briefsolo is succinct and very inside. Over each Abmaj’ chond, he plays Eb (the Sth) and D (the # 11) —the interval of a major 7th on the “and of 2” giving the solo a common thread. Check out his note choice and how lyrically and laid back he plays here. Although Icould not include Scofield comping in this book (forthe sake of space), that does not imply that itis less valuable or that you should not pay attention to it. John has one of the hippest and most original comping styles around. Listen to how he backs up Lovano on this tune —talk about pocket! Afier the 2nd C (®), Lovano and Scofield bring the tune to a close with a duet improvisation over the chords, again with emphasis on the “and of 2” in the Abmaj’ t 1 bar Very sensitive indeed.31 FLOWER POWER Medium waltz ¢ = 168 Guitar unaccompanied cemaj7 A Composed by JOHN SCOFIELD Bim) Brsust Cem? FT E A Flower Power -9-1 ‘Copyright © 1990 SCOWAY MUSIC (BMI) Inmernaional Copyright Secured Made in US.A. All Rights ReservedBy D765) G87 Ctmaj7 A Fem? wat Bom7G5) BIsus Cem? FT g A BT A ar bint) G7 Ohmi? A Fim? BG:Bo mgs) Bsus cem? m7 E A BT E A Br, Dims) G7 Cémaj7 A By __ q Fim? HGHBbm7¢t5) = 7 tocolower Power 9-5Batis) Bras m7 Pa E Flower Fower-9-637 GH Brm7G5) Brsus Cim7 FATEB A BT Dim7es) GET Ctmaj7 A Fim? - se eee red Bom7(é5) Breusé cim7 HT E ABho ' i DémT@5) 7 Cimaj? A Fem? HGH raf Brm75) Bsus Cin FT E A BF : feFLOWER POWER Flower Power isa big departure from the other tunes stylistically. It gets its strength from the I-IV-V progression and has a Caribbean flavor to it. [A] is comprised of 2 eight-bar phrases; first in G, then inE, ending with aii-V" (D m’b5-G # ') to C % maj’, which marks the beginning of the f section. This section is suspended in harmonic limbo, as it remains non-committal to any specific key Jor the first half (8 bars), and settles back to the key of E with the return of the I-IV-V motive in the second half. Because the key areas are changing so often, the key signature has been left open to avoid excessive accidentals. One of the wonderful things about this solo is that we get a chance to hear Scofield negotiating through changes that are very basic (major triads), with the exception being the first half of (B) , where John’ bebop influence tends to surface, accommodating the denser chords. Points Of Interest: The 2nd chorus begins with a Sonny Rollinsish vibe ala “St. Thomas.” Check out how beautifully Scofield balances this chorus thythmically—constantly shifting from consecutive eighth notes to dis- Jointed, syncopated values and back again; and texturally — by alternating single-line ideas with double-stop ideas in a completely natural way. Study the chord connection of D # m'bS-G #'-C # maj’ each time it occurs, and notice how this contrast point from [A] to [B] keeps lifting the solo to a higher level. There’ a built-in excitement here that Scofield is akways right on top of In the 2nd chorus notice ‘how nicely he extends the phrase through to the F % m’ chord; and in the 3rd chorus, where the beautiful shape of the line (beginning 5 bars before [Bis designed to land on the 3rds of G #* and C$ maj’ and then finally ends at the A chord (2nd bar of B) anticipating it with a ninth (B). The six bars that fol- low (until the double bar) stand as testament to completeness of thought and execution. Study the con- tour of the single note line, and also the choice of notes and how they relate to the changes. The second half of (B) is equally complete in its phrasing and beautiful in how it balances the first half by using double stops that seamlessly join the two sections together. The intensity and tum of the Sth chorus builds from the start with driving eighth notes, chromaticism (bar 3 of (Al), and less common “target notes” (bars 2-5 all target the major Tth oftheir respective chords, and bar 6 targets the ¢ I1).a STRANGER TO THE LIGHT ‘Composed by Fast J = 260 JOHN SCOFIELD nro: | | ‘Suanger To The Light -11-1 Copyright © 1990 SCOWAY MUSIC (BM International Copyright Secured Made in US.A. All Rights Reserved‘Stange To The Light- 11-2a ‘Stanger To The Light - 11-3£6) he by 0a) 9 to-—ef e tro Stanger To The Light - 11-7‘Swanger To The Light 11-849 . denna een 5 @ — <= th = io — 9 ~ = SS (SS SS SS] P=f +t = pate oa 412413 099. on oh — 8 be == = = — 1015 ; - , A — — 4 x ; Free time Saxophone solo begins. Pe ereeeeennemmmmens ————3— SS = SS = = 1 sper = + =F = =n = : : a= * eveeeemnnseceeennennes | se a oa p=f + = I ok t = Hay wot cB : = = t = vem ont : 1 antennal oa = — 2 = a ee — = - = Px wt = = : so <2 — 3 E im i = = = ETS Sr ——— ; 7 Ft rt 6 ae : — : 8 : : : Farmacology 8-4B? By 2a b fener a cat Eb7 Ds Bb7 ve ed = ——s = pee = By By be = ont ” —— 7 ee be _— — =e Spee = 2 ss ‘ - = = : ; =a 9h Chorus: Pa a» ia FE £ 2 = * = = 3 = = o : 6-3 = 1 ——= = S | sat 5 Ssca? a] BT 10th Chorus: Po ae, BT BT BT Jaen ea Josw ek Jonny gl Jenn el Jeon aml Joona Fanmscology 8-6cute Ww BT 13th Chorus:Saxophone solo a IstChorus: yy Choruses 2-13: (end sax solo) ed 42 BT BT BT 7 7 me D.C. al CodaNOCTURNAL MISSION Inthis introspective ballad, wwe have a seriously original, one-of-a-kind Scofield composition. [A] isa 12 bar phrase marked by an active chord progression which would be considered in classical analysis to possess “weak root movement.” That i to say, there is very little use ofthe typical dominant (V'-1) {function as we know it. Instead, the function of the dominant chords that do exist are passive, as they resolve to chords that are distant tothe tonic hey of (A: Cm—(i.e. A+7-Dm, F # 7/A 8-B). This isnot to say that a composition raust be based on strong root movement to work, and this tune proves this point. Scofield has said that Nocturnal Mission doesn’ really have chord changes; rather, itt “just notes.” From listening to this tune, I’m sure you will see what he means. The beauty of the (B) section is inits absence ofa written melody (so what is played during this section will alwoays be different) and how the chords (Bom(9)/C and Abm(9/Bb) alternate, creating a sense of stability and sharp contrast section. The “sound” we hear over these two chords is C phrygian and Bb phrygian respec- tively. In the first two bars, the only altered note in C phrygian is the Al(}6), which cam be considered passing downward to its resolution: Ab, (displaced an octave above) on the 2nd beat of the next bar ‘Notice the two triadic shapes derived direcly from C phrygian in these two bars: Db; bar I, 2nd beat, ‘and Ab; bar 2, 2nd beat, Scofield has done intense homework on modal harmonization, and more extensive proofoof this can be heard in “Time And Tide.” Bb phrygian is the derivation of the notes in bars 2.and 3. The dense sounding chord in bar 3, beat 2, comes right out of Bb phrygian: Bo-Cb-E> (-b9-I1). The melody in bar 4 is very strong, and the harmonization (the lower voice) isin keeping ‘with Bb phrygian. Bars 5 and 6 switch back to C phrygian and make use ofa melody in double stops witha C common tune at the top. The last 2 bars are back in Bb phrygian and owe their strength to the Bb pedal-note above the Abm and Bom triads; connected by the C-E4-Bb (C’) chord which is passing upwards.8 NOCTURNAL MISSION Composed by 1=16 JOHN SCOFIELD Aon? A) Dm Bom Cai B 5 fae Guta unaccompanied Ist tne, band eaters oa repeat andar a 4th time to Coda Il Drm6 De Esme Abe FHTIAS Bo Cm Ab? AN Coda I DSS al Coda It Saxophone solo: ‘Solo for Noctamal Mision Coprigh © 199 ScOWAY MUSIC (BM) Totermtional Copigh Seowed Maden USA. All Rights ReservedTIME AND TIDE The ascending chord structure of Fm’ 8 5-Gm’bS-Ab’-Bom’ comes direcily out of the Faeolian mode, hence the Fm key signature. This progression serves as a laid back intro/vamp until Scofield brings the melody in at [A]. If you compare this performance of the [A] melody to the lead sheet melody, you will realize that Scofield is interpreting his own melody as much as anyone would. [B] is also interpreted very freely, while John’ ability to play a single line melody as well as choice chord voicings simulta~ B neously in a seemingly effortless way is in full force. This section isa perfect complement to the former section in every way, and I urge you to study the chord progression here, being that itis so unique. This chord movement strays from Faeolian, and the shape of the root movement has a great deal of B contour until it finally arrives at the unpredictable D7sus4 chord at the end of the phrase. (G} is just like [Al, only halfas long. The solo section is loosely based on Bb aeolian. In this solo, you will hear Scofield’ tremendous com- {mand of spontaneous melody and harmonization. The first 8 bars are so strong musically, it} hard 10 believe that they were not preconceived. For the most part, John’ approach on this tune is chordal — consisting of 2 and 3 note chords derived directly from Bb aeolian. In phrase 2, bars 6-8, you will find double stop ninths. This strange and beautiful sound is used again in phrase 5 (bars I-7). These double stops, being ofa spooky, hollow character, sharply contrast with the richness of the (triadic) chords. I have heard Scofield speak of musicians who are too “root conscious,” and in listening to him and his ‘music, Ican honestly say I heara musician free of boundaries. For insight into this, I would suggest studying the movement of his chordal approach, and listen closely to tension and release (consonance 1s, dissonance), nods to other Rey areas, and the general unbound, “non-root conscious” spirit of what he plays. Note the specific structures ofthe 3 note chords used in this solo. In phrase 3, the intervatic structure isa 4th plus a 3rd (bars I-4), with the exception of the first inversion Bom chord (Db-F-Bb) found on the “and of 3} 3rd bar Phrase 4 begins with the same structure (bar 2), and develops into a wider-voiced structure of a 6th plus a 4th (bars 3-8), with some variations along the way. This “interval stacking” approach can be done with any scale and will expand your knowledge of the fretboard as well as your musical vocabulary.6 TIME AND TIDE Composed by Slow march 4 = 120 JOHN SCOFIELD Intro: Guitar unaccompanied Fa7G5) Gn765) A944 Bint Fmi@5) Gas) ran 7 hold 5 = SS 4 $s = $ 1—— ; = © * Picking und domly moving ver mated ig Bat antes) nt) 9 Bear : : Nh E = — SS st SS ad wz ia == salt a _ = —4 $ a | a 4 J Bass & drums ener G75) Aso Bom? Fm75) Gm705) . i. 2 = = + { i | 9-29 + 1 wo Bint Fates) uns) wo Bar = Ss at Gr Es = = <—Ts—s eS] hold —, : 5 if 3 7 4 Fo a3 3 B = =) me) anne) wo Bar tes) 0765) SS Copyright © 1990 SCOWAY MUSIC (BM) International Copyright Secured Made in USA. All Rights Reservedao Bom? Fm7(t5) Gm(5) Bm, Bom? Fm7¢5) Farts) Gares) Bar Fot¢5) ars) (eae = aS a 2S ov tr — } — FS $ ~ + +—— + 3 a = - wo Ba Emits) om) wo Bia rants) on) ws ma? SSS SS = § SSS —=* — +—3 33 #5 8 EBar ‘Asmaj7 Gm? —. a Z =F = ¥ + ; —. = — = Bing? ' : Foy? BOD a FA a my Fis) Fant5) DD Guitar soto Fm7(¢5) Gm7(>5) AND Bom? le ‘Acolian)‘Tine And Tide-7-40 ] TM T +H ale! i lit UL y I =} wi LPP i (lp waht [el Tiny t fey gelll) THT ch ele alle) 2M aie |eele fi T| [ £ mal itll ee In al Thy Tif te elle e iN i Tilt fi i He ae a i Sel oTee Ah UL | | ; fle] I t “1 Fee! a 4 3 wlll) Pee tele 0 if 2 1, a 2 nthe FPF Pele tele ebb dda ‘ eee Hl Mee ee He ‘Tine And Tide-7-5AmT Bm? cem7p5) Dsusn Bass solo ) Bhm7? —_Fmm(@5)_—Gm765)— AbD Bom? Fimi(#5) Gm705) AbD Bom in 134 m5) Gm7e5) —Ab9 Bom? Fo7@5) Gm705) 9 Bat on a i ¢ ze Fm7@5) — GmS) AB Bem? Fm7@5)_ Gm75)—— Ab Bm? Fm7(@5) GmIG5) ASD Bom? Fm7(@5) Gm76>5) ao Bm Farts) Oars) 09 Bima) anes) ($8)n BE HEAR NOW Composed by JOHN SCOFIELD Free time (moderately) BeHearNow- 4-1 Copyright © 1990 SCOWAY MUSIC (BM) Inerational Copyright Secured Made in US.A. All Rights Reserved2 2nd time to Coda Wi ) \ Be Heac Now -4-2" Be Hear Now 4-3pe as ———————————— as Bass solo DOC. al Coda Be HesrNow 4-4BE HEAR NOW Be Hear Now isa free improvisation based on a head that is comprised of six distinct phrases in free time. Intranscribing the guitar solo, I used the note values in Scofield’ lead sheet as a measuring stick for determining rhythm. This is of course my interpretation and you may or may not agree with it. The important thing is that you are open to the flexibility ofa transcription of this nature. The absence of bar lines renders an accidental useless beyond the note it accompanies. Therefore, itis crucial that you seep a close watch on the accidentals —it can get very tricky. The solos are loosely based on the harmonies that the head melody outlines, which are as follows: phrase 1: Ab-Dp-Fm, phrase 2: A, phrase 3: Bb, phrase 4: Go, phrase 5: Gand phrase 6: Ab-Db- Fm-A. Itis entirely understandable why with this tune (as well as some others in this book), Scofield prefers no chord symbols — the looseness of the solos dictates freedom from this and other common ways of measuring phrases such as bar lines and key signatures. The enharmonic choices that are present in the solo may seem obscure as related to the chords I have suggested; I went with convenience and logic. Twill not attempt to pin down specific ideas from this solo and discuss them from a harmonic stand- point. This would be like forcing square pegs into round holes by virtue ofthe difficulty in determining what effect the bass has on everything Scofield plays at any given moment. As John told me, Charlie Haden is like a “traffic cop” on this tune. Itis the bassist role in a case like this to balance the band harmonically and rhythmically, mediating bettoeen the drummer and the guitar player—not an easy job. There is sublime interplay between all involved, and their respective musical identities are ever- present, As usual, Scofield balances his phrases with a diverse rhythmic approach. Since wee speak- ing of free time, I would urge you to listen to and feel the rhythmic “push and pull” of Scofield presence and also how he manages to work in all of his signature characteristics (double stops, ham- ‘mers, pulls and slides, dynamic subletes, etc. etc.), as he gives everything he got to the music.n FAT LIP Medium funk ¢ = 100 ‘Composed by Intro: Guitar unaccompanied JOHN SCOFIELD cn © pilow Cesare peyedw hand hu 3 = — > 2 a hee + 3 7 + * Ce wound wpe put fom Ah age, 9 - a a —* os (3 $4 — + —— == Patlp-5-1 Copyright ©1990 SCOWAY MUSIC (BMI) International Copyright Secured Made in U.S.A. All Rights ReservedBI3__Gt/Be freemen Bi G4) Be Bem? Gt/BE B/D E13 Bbm7— BIS B NG A E NG A zB NGE A2nd time to Coda {9} Guitar solo Fem7a) BIS GH/BE C#T(ope0) 2 * Pace fge diel ver he 6 et (Suating pith: DY) 2 wy PDi Sounding plebes: BE FatLip-5-4a rae |e F 1H i ih) Drum solo (open a (ven) DS.% al Coda Gh eeeeanneeeeneneennnnneneennneeeennane : PA 4 eo on Py ere ‘nat i wesesananannenwvwonssontnnnnnnnc—om 3 = (piece SS ey a . fn nnne - : a pee see + a! 5 + Fatlip-5-5FAT LIP A Scofield record just wouldn't be complete without a funky number The head moves through three heyareas: C #, E and C, respectively. You will notice that the harmonic language ofthis tune is blues influenced and that the key signatures are major (ionian) but the music sounds otherwise (mixolydian «and pentatonic minor)— this is simply a modern convention. The intro is a vamp based on [A]. The [A] section is a7 bar phrase with some heavy, syncopated band his that push into [B]. This section is briefand leads back to what sounds like tah bai actually the (C) section, a half-step lower than [A], and only 4 bars long. The guitar solo section finally arrives back in C #, and John lets loose with the Rat (distortion pedal), throws the switch to the treble pick up and takes a complete left. This section is open form-avise and grooves in C # until it goes (on cue) to the key of E. For the C % part, John is digging in hard and ‘eeping it simple using only C # mixolydian and C # pentatonic minors, mixing them together along the way (i.e. bars 10 and II of the solo). Jokn$ rock and roll roots are in plain view with stuff Z.Z. Top Hl would be proud of in bars 1-6 and some funky blues-rock rhythm guitar ala Johnny Winter in bars 14 and 15. In bars 17-24, he pulls out all the stops and spews out some hairy harmonics (a relatively new Uf antic in his playing, he claims). These are somewhat random natural harmonics found in and around the 3rd fret area of the low strings. This section in E is marked by a heavy use of E pentatonic minor with a passing bS (Bb) in bars 20, 21 and 24.WABASH III ‘Composed by Medium fast JOHN SCOFIELD ral] ‘Wabash I - Lead sheet Copyright © 1990 SCOWAY MUSIC (BM) Anernstonal Copyright Secured Made in US.A. All Rights ReservedSINCE YOU ASKED ‘Composed by JOHN SCOFIELD Soaps pong — Cm Frm BA —— | Ab maj — Doma? —— 1B Tous Cm — Since You Asked - Lead sheet Copyright ©1990 SCOWAY MUSIC (BMI) Interaaionl Copyright Secured Made in USA. All RightsReservedSO SUE ME ‘Composed by rai JOHN SCOFIELD So Sue Me Lead sheet Copyright © 1990 SCOWAY MUSIC (BM Imernatonal Copyright Secured Made in USA. All Rights ReservedLET’S SAY WE DID ‘Composed by JOHN SCOFIELD Slow a ‘Abmaj? | Bb7sus Cm7)]| Ab maj7 |B» 7sus Cm7 —|Abmaj7 Bb 7sus Cm? Bb 7sus Cm7 — |Abmaj7 ToCoda DS.% al Coda cI Adib, solo” Play 4 times Bb7sus Cm7 |Abmaj7 [Bs 7sus Cm7 || Ab maj7(z 11) |B> Zsus Cm7| o Goda Adib, solo JAb maj7(@11) b maj7(e 11) ‘Let's Say We id - Lead sheet Copyright ©1990 SCOWAY MUSIC (BMI) International Copyright Secured Made in U.S.A. All Rights Reserved87 FLOWER POWER Composed by Medium waltz JOHN SCOFIELD G c Dp 6G c D7 6 c oD E A BT Dim75) G7 Cimaj7 A Fim EIGE Bom7(45) Bisus Chm7 Fey Flower Power- Lead sheet Copyright © 1990 SCOWAY MUSIC (BMI) Intemational Copyright Secured Made fn U.S.A. All Rights ReservedSTRANGER TO THE LIGHT ‘Composed by JOHN SCOFIELD Fast Iniro: Play 4 times. ee DSS al Coda Coda Play [A melody & fade a ‘Suangee To The Ligh - Lead sheet Copyright © 1990 SCOWAY MUSIC (BMT) Inereatonal Copyright Secured Made n U.S.A. All Rights ReservedNOCTURNAL MISSION ‘Composed by JOHN SCOFIELD Slow ATS) fe | = DC.al Fine (C Phrygian) * This section has no writen melody. Ad lib. melody using indicated scales. ‘Nocturnal Mision - Lead sheet Copyright © 1900 SCOWAY MUSIC (BMI) Cotnternatonal Copyeight Secured Made a US.A. All Rights ReservedFARMACOLOGY Composed by JOHN SCOFIELD Medium fast Last time to Coda) @ Farmacology- Lead sheet ‘Copycght © 1990 SCOWAY MUSIC @M) International Copyright Secured Made in US.A. All Rights Reserved9 TIME AND TIDE Composes Siow march soni SCOrIELD FIGS) _GmI68)| Av Bem? __|FmIGS) _Gm765)|Av9_Bom7\| PICS) Gm70S)|4>9_ Bom G75) |Av9_ Bom | Fm7(e5) _Gm7v5) |A+9_Bom7_|FmIG5)_Gm78) |ab9 Fmt) _Gm75)|Av9___Bam7__|rm7tes)_Gm705) |Av9__Bom7 |Fm7(25) _Gm7605)|A49 Farts)" Gm7b5)|A39 2 +e Fee FIGS) —_Gm709) |Av9 _ Bom?__|Fmtts) Gm) |Av9__Bom7_|FmIts5) _GmTo5) |Av9_ o aoe # sae Soom PmI0S) ~_GmI69) |4s9_BowT | Bh Avan) DS. al Coda = Additional solos Cem) Draws _} (BrAeotan) copnig © 150 scoway Music can) ‘mveinn Cap Scan USA. A Rgh ReenedBE HEAR NOW ‘Composed by JOHN SCOFIELD ieee a GS : SSS SS a ae [Be Hear Now -Lead sheet Copyright © 1990 SCOWAY MUSIC BM Tnteraatonal Copyright Secured Made in US.A. All Rights ReservedFAT LIP Composed by Metings funk JOHN SCOFIELD BU(13) GeICé BI(3) G41B2 Bb mi B67013) GiB BbIC| Bm? Efsus | Fém7(11) BY(I3) AIC (Open solos (C27) |] C27 Fut Lip - Lead sheet Copyright © 1990 SCOWAY MUSIC (BMI) International Copyright Secured Made in USA. All Rights Reserved