oe SiON with "I book tist Set) J six Classic {= Santana tracks ,/ Cove el) , = 5 StandardgNotation ¥ Chords & Lyrics Swit) Z Special practice tracks on the CD, with slowed down versions of the solos, in demonstration and play-along formatsIr Carlos _SantanaDON'T BE __ The copying of © copyright material is a criminal offence and may lead to prosecution. Series Editor: Sadie Cook ‘Music transcription, arrangement and recording: Martin Shellard Music Editorial & Project Management: Artemis Music Limited Cover Photo by Max Redfem, Al photos supplied by Redferns Music Picture Library Design & Production: Space DPS Limited Rooproduced and printed by Halstan & Co. Ltd., Amersham, Buoks., England Published 1999 © Intemational Music Publications Limited Griffin House, 161 Hammersmith Road, London W6 88S International Music Publications Limited England: Gaiffin House 161 Hammersmith Road London Wé 88S Germany: Marstallstr. 8 D-80539 Minchen Denmark: Danmusik Vognmagergade 7 DK1120 Copenhagen K hnaly: Via Campania 12 20098 San Giuliano Milanese Milano Spain: Magallanes 25 28015 Madrid France: 29 Rue de la Ville-!Eveque 75008 Paris Reproducing this music in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988 Exclusive Distributors: WARNER BROS. PUBLICATIONS U.S. INC. USA: 15800 N.W. 48th Avenue Miami, Florida 33014 (0S Australia: 9 Talavera Road North Ryde New South Wales 2113 Scandinavia: P.O, Box 533 Vendevagen 85 B S-182 15 Danderyd ‘SwedenIn the Book... Introduction ............... 4 Tablature Key ............05 8 Flor D’Luna ...........0005 10 Alll Ever Wanted .......... 20 Sensitive Kind............. 32 Samba PaTi ............85 42 Europa... ... ee eee eee eee ee 52 Hannibal ..............05. 64 Carlos Santana Qh The cb... HannibalBiography ae momentum he’s built up by ae be gradually increasing his speed finally catapults him up to a higher level... 99 rowing up in Tijuana, Mexico in the as introduced violinist. At the Walker. He a musical cole blues, rock band rey with Grege ww the teachings 0 guru Sri Chinmoy, taking the additional name Devadip, Prot Davi 4 Carlos Santanasiete eae Poo: Ebet Robes ce Santana’s dynamic and lyrical style, he uses the volume ... showcases control to change the volume and tone of the guitar. 99 ct The next five years saw the WELCOME, BORBOLETT of many classic Santana albums including STIVAL and MOONFLOWER which contained a cover of The Zombies’ She's Not There, Santana's biggest ever UK hit. The MARATHON and ZEBOP! albums of 1979 and 1981 showed a more hough still coloured with driving Latin percussio lace cig like VIVA SANTANA and MILAGRO, which is dedicated to the memories of Miles Davis and Bill Graham, saw Santana retuen to their musical roots with albums An extremely prolific artist, Carlos has released over thirty titles and sold over thirty million albums since 1969 including collaborations with such jar luminaries as Wayne Shorter, Herbie Hancock and Bucidy Miles. Musical Style Carlos has a unique and distinctive style, partly due to his Latin American background, which finds its way into all aspects of bis playing. is trademark uit Aretha Franklin, This search for sustain and tone has lead to many significant ways trying, 10 emulate the vocal qualities of singers ike seul legend developments in guitar equipment. He was one of the first people 10 use Mesa amplifiers ancl Paul Reed Smith guitars, and he had a hand in the design fof the Yamaha SG 2000 guitar. His sound is loud but never shrill, and when he plays he says that he uses his whole body, not just his hands, 10 project the notes. That famous endless sustain is achieved by finding a ‘sweer spot" between nd his amplifier, with some of the top rolled off, which allows the uta to feed back in a controlled and musical way The key to understanding Carlos" guitar style is to study the deail in his al lines lends phrasing. His use of staceato notes and decorations i immense musicality co his playing and, unusually for a guitarist, his use of vibeato is very sparse and subtle, These are all elements that se'll look ¢ in detail later in the book Performance Notes Flor D'Luna Taken from the 1977 album MOONELOWER this track is a mid tempo instrumental with a strong simba flavour. I's in the key of D minor but you'll ui ant part notice that Carlos rd pentaconie position for the melody. These posi he melody as he uses the different sound of each string to complement the musical phrases The solo is based on the Em7#5, A7, Dm chord sequence. This is called a VL progression and is very common in jazt. The solo is based mainly around the Carlos Santana 5Photo Max Restorn 10th free D minor pentatonic scale, Notice how the energy level increases firstly by him playing faster and faster phrases then, later, by changing position and playing in a higher register. It's as ifthe momentum he's built up by gradually increasing his speed finally catapults him up co a higher level. This is « great example of solo building technique by one of the acknowledged masters Notice how the ouero uses che same chord progression as the solo with Carlos ad-libbing to the end All| Ever Wanted This is an up-tempo riff-hased rock number from the 1979 album MARATHON. The piece starts with a distinctive two bar pereussion intro before the guitar plays an opening E major iff leading to the first verse The rhythm guitar deops out here and a bluesy lead guitar loosely follows eh vocal line based around the E major pentatonic sale (E, Ga, A, By Ce, F).\ new riff leads into and accompanies the second verse before we see yet another change of texture with the power chords in the chorus, This is Carlos leaves space to allow the solo to ‘breath of arranging ~ notice how the various sections are treated differently to help In contrast to the high energy rifs, the solo is quite restrained with Carlos leaving space to allow the solo to *breathe® preferring to use simple, repetitive ideas rather than overloading the song, with noces. Hannibal This is a high energy, Latin instrumental from the ZEBOP! album and fearutes some of Santana's most incendiary guitar playing. Although the key is G minor, the tune is based around a D minor tonality which gives it an exotic, modal The opening of the song features a Spanish style nylon-string acoustic over a power chord backing, setting the rone forthe distorted lead guitar melody. G ly The main melody is split into two sections the frst played at the Sth {ret position and the second around the 10th. The seeond section oe the energy js much looser than the first with more fills and position shifts. Sheehan a i hw ssi S kept at maximum muted riff i unison with the bass and piano which leads into a percussion break, This percussion break is punctuated by a unison figure at the beginning of each bar, creating a dramatic aan capecet ect . throughout the cr ea rsh eg a solo... 9 9 6 Carlos SantanaSensitive Kind Another track from the ZEBOP! album, this is a laid-back vocal ballad originally written and recorded by J J Cale. The key is G minor and most of the guitar action takes place at ether the 3rd fret position or an octave highee at the 15th fret. Check out Carlos’ usual range of articulations here, and how he cleverly contrasts staccato notes with more lyrical bends and slurs. This is a ‘common feature in all his music ~ it's part of his musical ‘fingerprint’ The solo is another example of restraint and economical playing. Notice how ey level of this solo increases towards the end, with Carlos both playing more the simple yet soulful phrases are punctuated by rests, Once again the e notes and moving to a higher register Samba Pa Ti Originally from the album ABRAXAS, chis slow, melodic hallad showcases Santana's dynamic and lyrical style, He uses the volume control throughout t0 change both the volume and cone of the guitar. Listen carefully and you ean hear that almost every phrase has a slghely different tone, with some phrases so quiet they are almost inaudible. Alehough this song is in the key of G the main melody is played around the Sth fret A minor position ‘The beat moves into double time for the solo which starts with a melodic idea taken from the previous section, This then expands into a Tong free-ranging solo as Santana stretches out over the G to 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 restrietive chore! progression, Europa This tack is another melodic ballad, this tim ayed over a jazz-inspited chord sequence, First released on the 1977 album MOONFLOWER, it features not only Santana's trademark singing lead tone but also a clean, rotating speaker sound used in the second melodic section, The track stars with a C minor based melody which contrasts long. held notes with short staccato ones, by now a trademark of Sancana’s playing style, There ate times when his guitar scems to be taking a breath during or between phrases ~ showing the influence of singers on his playing ~ as he tries to emulate the emotional potential and ‘expressive range of the human voice The solo is played over a two chord "vamp". This broad backdrop for Santana to play over ~ and he takes full advantage Photo Rober Koght Carlos Santana 7Tablature Key Hammer-on f — ° tte ner te ‘me? anather PE ger he Play theme hon Compound bend and return 8 2 tend up and down 8 Tablature Key Pull-off shown before se the Saif hand Tage up o dowe Pre-bend and return Bre er ee more asBend and tap Tapping bt =5 Arpeggiate CS —— LS Le tend the note Hammer Clap he Frrindaaud sh thepet hand index frie tower Sn pal ff he Fete by the echond thee handily Pray hens theta by them the son othe Vibrato © Rapaly bend and Mee the aoe | —sereessens ithe emi Bon Pick scrape é A theca . ick ab -— erties L Fre the mote relia . proce sharon r Be adina theede Pal hike ho Drag the ik Vibrato-bar dive and return Drops rich ot specie umber them stun othe ‘ral pc, Trill apy aerate tne by Femerng 0 and Lay te fear Fey crv he te hind tam TE aeq eeu s——— Tremolo picking Repay ick he 6? 2 ro sa Vinrato-bar dips ar Go oe thine Uhm lee hack the ong pack ith Cy he frst nore ke Tablature KeyFLOR D’LUNA by Tom Coster On Avast AD Dna) Dn? Gn? Go _Dmvia C9 Fai? Final? E75 ATE OIG. fm ey ae sinuy: tal SE “EH ar Dm Dmimai?) Dm? Gime pa i = 16 8 2 © 1984 & 1999 Light Music, USA Rondor Music (London) Ltd, London SW6 4TW and copyright control 10 Flor D'Lunaar Dm — Dmimaj7) Dm? Gmo awe eg 15-15-15. ATeus4 Ar Dm? Gm? ors ce Fai Fimai? Alous’ ull Felt 13-15— A Flor D'Luna 11ar Dm Em7s) Ar Dm Em7s) a7 Dn Ents) ATE Om emres) a . ‘ a Ss Sapa © Dm Em765) ATIE Dm Ems) Ar 2 2 oe * £ beke ap 7 6 SSeS qe Pa sels + Se - = = Hi Ex. 2 Dm Em7es) ATE Dm Ems) a . Em7ts) ATE Dm 412. Flor D'LunaTt ane cornea Eniés) "7 On Ents) 8 a © Bee ete ie i nett 4 ert Te? SSS oS Se fe | fise te esta ceeee sc eeetecneel aspen? aoe, ef fe fpr et all ? 15-18-18-15-18— 8 Ful 18:15 1515 101 yl ah ewig! wwii pttartorpete fen ry Fi ee eee att Fu alt att Co oe D8 go wg gy wa “6: 8 EuropaCm? @ fl a : a ope foe = ————— = oo SS Ze 9 19-03 — 15 — 151818 + = wi eee 18 # ee ee ee ery = Bi7sus4 == wahowah off m7 BiTsus4 8 = 1516-10] 10-10: we Cm? Bi7su54 Cm? loco . 8, —solo ends 1517-15 5-15-18 7 Europa 59The Solo Europa This solo is a good example of Carlos’ trademark ‘singing’ guitar style which builds from sparscly used s nple 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 Cm? and stays mostly around the 8th fret C minor position. 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 D 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' 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 i for a memorable tune. Use scale fingering for this example, starting 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 improvisational territory. Europa 61Ex3 Bast 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 wang gem ge wag ic Vga ty This three note repeating pattern starts with a pre-bend before releasing with a Bb played on the top string. Use the fourth finger on the top string and don’t be afraid to let it 62 Europa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 i the faster you'll learn it. Europa 63HANNIBAL Words and Music by Carlos Santana, Raul Rekow, Alex Ligertwood and Alan Pasqua OBA OFS. fn? Gn? Fn Fa? TRE RES "ERE "TBE 8 "BS ae Ba Gn? Dn? Ema? Oni Ont Ea On? “Ges a) GR TE aR i] “TEE "EY 14 Inro (DS Bs os bs FS eis os scour 2 ps Fo BS OB bs Fmd Gm? Fm Gm? Fen? Be) ea 3 | | (© 1994 & 1999 Light Music, USA, Rondor Music (London) Ltd, London SW6 4TW 64 HannibalDm? Esmaj? Om? Dme Ebmaj? Cm? = — eS 30-12-1210 12 10-12 1012 Dims Esmal? Cm? Dme Ebmai7 Cm? 1 —— ano 210-4 Dme Ebmal? Cm? Dime Ebmaj? Cm? = == To ne 0— 10-12—10-12 32-1012 Hannibal 65Ebmai? Cm? Dma E>maj7 - i Cm? Dme Ebma\7 Cm? Pesta ow fou soo = day ar ~ gent Play 3 timesErma? Cn? Dmo Eval? om? ya. oO, bar a ~ .s pip? se 9 fF 6 — eo m ep 1S: 70-210 = aa Cosel Hannibal 67Exit SSS : LL solo starts — 1019 13.19.13.19.13.19.19) png eee 1012 3215-12 10-11-13 @ Dmg ~ = 8 2 Ex. 2 a ein ont one @ B 8 | ee 18-15 156 — 1817-15 15-7 — 07) 15157 7 : w Ww Dma Ebmaj7 Cm Dmo 15-17-718—15-17-18—15-17-1 35-18-15 WwCm? — s — = = (SS 2ea tr ays a ii va 15—15- 15—15—15—15- Se STS A — iene 1715 ——15- a8 wexip nnn Cm7 Dm? tn ° ~ * <-> ¢ Tee ee aie oe ee ae ma ae awe == 110 312-10 ee 32-10 Pe 10% | 10 110 0 210 Hannibal3 fef SL ee Pal 7 10-10—_—10- 10 10-10-1010 1% 1 ae — 4 1 Ebmaj? Cm? den vo A fa Fat ta Ra tah ta ah oP ee Be FB BF eS hh PS hh eh Shee br oh tl 0h 1 w ah: RU EE Dm9/A co @ opapaear (hl bea forall Fal a ,? ? 9 —0i _—< iB Ome Ebmaj7 Cm? Dme 70 HannibalEbmaj7 Cm? Dm? Ful ae ~ >— a tat 10-19-19 10-19-19 10-19-1910 IC Ben ee 12=10° 12—10- = — rn — Cm? Dmo Ebmai7, Cm7 loco go oe cf fertre = = = SS ae See| Ie = = — 10-12- Dm Esmai? cn? 10-12 10-12-13 a= 18 8 3 = = tee ete - = i = —— =| one na? cn? all (2)-10—_—10— 1210 — 12 Hannibal 71One Ebmair cmt 2 1B 10 e—b—b—2—W——0— a0 Dma Toco Opt tt EE os ‘6 ——— . a al 9—1——0 10 B—8 “3 FE —— eo 8 Dm? Ebmai? Cm Dm? Dm? Ebmai? m7 Ne. 72 HannibalThe Solo Hannibal ‘This is a great high energy solo that blisters into action with a fast ascending scale that soars to a repeated F on the top string. Ex1 Oma seus wan RH, Play this in the 10th 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 thar happen on the way down, Santana uses a lot of fast repeated picking (or tremolo picking). He plays with large triangular pick that comes to a sharp point and, when he’s playing this kind of phrase, he'll pick close to the bridge. This helps him achieve the fast picking speed required for this lick. Hannibal 73Ex2 oo On? Erma? ont epttet pape ee Spee atte Pa rt ral val a ee swe www ppg A 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. Ex3 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 time, Learn each phrase slowly then piece them together. The igh point of the whole solo is a long repeating pre bend lick which appears in bars 86 ~ 88. Ex4 Foto Pall Full Fall Fall Fal Pu eat Fatt ryt va Bm BE BTM gy Pee tt 0 0s lt This phrase involves playing pre-bends in close succession on two different strings. There’s no time 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 stop the string ringing after you have played it. You can't use Hannibal 75your fretting hand to damp the string 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 Ex5 ‘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