2 MEL BAY PUBLICATIONS, INC. #4 INDUSTRIAL DRIVE PACIFIC, MISSOURI 63069-0066 MB95579 $15.00MEL BAY PRESENTS Emi Remler RETROSPECTIVE "COMPOSITIONS" Transcribed by Dan Bowden A recording of the music in this book is now available. The pub- lisher strongly recommends the Use of this recording along with the text to insure accuracy of in- terpretation and ease in learning. (ay (©1996 BY MEL BAY PUBLICATIONS, INC, PACIFIC. MO 60099. [ALL RIGHTS RESEAVED, INTERNATIONAL COPYRIGHT SECURED. M1 MADE ANO PRINTED INUS.A. Visit us on the Web at http://www.melbay.com — E-mail us at email@melbay.commusre if fee Contents RB SS i99, About Emily Remler ............ . Btn te caiareiea ian 4 Notes From The Transcriber............ Sa 5 KON S HY Ce Suan KGS | Notation Legend. . coc ceeeeeeee : 7 Mocha Spice..... . ee eee eee pas cere B Nunca Mais .......... iia 8 ete 6 aoe & Bled x ae EERE dean sor -.. 16 Waltz For My Grandfather .................0.. 26 CRW ces 5 oes vane wuss o oes eo YEGRE CEfab S ae 5 em eam =o aa see Oe Blues For Herb... ............02. i 4 wanes nae nye am 5 acs 5 . 49 Transitions ...... wa 55 EDK Rdad bana e we 59 The Firefly) «cas ¢ sis + cieihs 6 20% done « mney veiw enon « vie Le eee 7 BORE WO oss ses 9 Kniss nan beeen ence eens a 82 Antonio........... 0... ceca ee a wate © Nao ee wR 92 Mozambique... 2... 2.0.00. 00 c eee c cc ecc cece cuseeeeeeee seeees 100 asthe. “Actually, I think of myself more as a composer than as a guitarist. I want to beacomposermorethan anything else.” Emily Remler 1981 aabe,MEL BAY PRESENTS Emi Remler RETROSPECTIVE "COMPOSITIONS" Transcribed by Dan Bowden A recording of the music in this book is now available. The pub- lisher strongly recommends the Use of this recording along with the text to insure accuracy of in- terpretation and ease in learning. (ay (©1996 BY MEL BAY PUBLICATIONS, INC, PACIFIC. MO 60099. [ALL RIGHTS RESEAVED, INTERNATIONAL COPYRIGHT SECURED. M1 MADE ANO PRINTED INUS.A. Visit us on the Web at http://www.melbay.com — E-mail us at email@melbay.comAbout Emily Remler Bom to non-musical parents in New York City on September 18, 1957, Emily Remler was raised in Englewood Cliffs, New Jersey. She taught herself to play folk guitar when she was nine. She became interested in rock, first through the Beatles and then the Rolling Stones and Johnny Winter. She even imitated Winter's blues guitar riffs and copied Jimi Hendrix’ style. ‘She was introduced to bebop and swing at the Berklee School of Music. In an interview with John S. Wilson, she said, “Initially, all I heard was a bunch of notes, so 1 know what it’s like when people hear jazz for the first time. But then I heard Charlie Christian, the guitarist...and Paul Desmond. With Desmond, I could hear the melody and relate to it. Desmond got me into jazz, but when I heard Wes Montgomery and Pat Metheny, I knew I would be a guitarist.” There were other musicians who influenced Remler, musicians as diverse as John Coltrane and Leonard Bernstein, “If it wasn’t for ‘West Side Story,’ I wouldn't be playing music...IfT could switch with somebody right now, just for a couple of days, it would be Leonard,” said Emily in a 1985 Down Beat magazine interview. She left Berklee with a degree at 18 and moved to New Orleans, where she did her first serious work as a professional musician. In 1978, the legendary jazz guitarist Herb Ellis changed her life. “I had a Herb Ellis model guitar and he was in town. I called and asked him to fix it. I'm very gutsy.” Recognizing her talent, he gave her a Jesson and was instrumental in her invitation to perform at the Concord (California) Jazz Festival the next month, ~And there I was on a “Great Guitar’ bill with Herb, Cal Collins, Barney Kessel and Tal Farlow ~ my heroes.” Shortly thereafter, she was signed to acontract by Carl Jefferson, president of Concord Records, who had become one of her staunchest fans and mentors. Her debut album as a leader, “Firefly” (CI-162) brought immediate accolades. Nat Hentoff reviewed it in Cosmopolitan magazine: “Behold a remarkable new jazz star! She has an exceptionally warm sound, a flowing beat, and continually fresh ideas. Add another distinctive presence to the growing number of women in jazz.” Leonard Feather presented her with his “1981 Golden Feather Award,” naming her “Young Woman of the Year” in jaz. Remler performed at the Kool Jazz Festival in New York and the Berlin Jazz Festival. She worked for three years with Brazilian singer Astrud Gilberto, and then formed her own group with talented musicians such as Eddie Gomez and Bob Moses. Remler followed her first success with five more albums on the Concord label, each garnering more praise. She ‘was most proud of being voted winner of Down Beat magazine polls year after year from 1982 on. People magazine did a feature on Emily, in which she is quoted, “I may look like a nice Jewish girl from New Jersey, but inside I’m a 50-year-old, heavyset black man with a big thumb, By 1989, she was touring around the world, performing in clubs and at festivals. Michael Bourne reviewed the 1987 Northsea Jazz Festival in Down Beat magazine: “...and guitarist Emily Remler stole the show again and again.” In an interview in October of 1989, she was asked what she would most like to be remembered for musically. Her answer was, “Good compositions, memorable guitar playing, and my contributions as a woman in music.” She is remembered for these things and much more. Emily Remler, a beautiful, young woman who made an indelible impression on all who met her ~ and heard her ~ died of heart failure on May 4, 1990, while on tour in Sydney, Australia. ~ Liner Notes From The Concord Jazz CD Emily Remler/Retrospective, Volume Two “Compositions”Notes From the Transcriber This collection of transcriptions comes from the recorded work of Emily Remler on the Concord label. All ten selections, ranging from delicate ballads (Song For My Grandfather) to vanguard fusion (Antonio), were composed by Emily. Several pieces such as Mocha Spice and Nunca Mais, feature her fresh approach to the trio rhythm-section format and her propensity for Latin music. East to Wes, The Firefly and Blues For Herb are representative of Emily's mainstream jazz and blues sensibilities Evident after listening to this music is Emily Remler as the composing improviser. Because Emily's composi- tional instincts permeate these solos, they progress as a story being told, having an arrangement-like quality to them. While the solos merit close study by improvisers working on theircraft, each composition is a worthy andsuitable addition to the jazz repertoire. Hopefully with this publication, Emily Remler’s contributions as a guitarist and composer will be increasingly recognized by jazz listeners and musicians alike Here is a brief summary of the transcribed music: Emily Remler - guitar; all tracks ‘Mocha Spice Eddie Gomez - bass; Bob Moses - drums; recorded August, 1984 From the album “Catwalk,” the Mocha Spice head arrangement features parts for Guitars I and IL, with the second part being an overdub. Although both parts are included, the head may be modified for performance by a single guitarist. Emily begins her two-chorus solo with single note lines. As the solo develops, chords begin to supplement lines. The harmonic density expands to full block chords by the out chorus. Note the diatonic chords that are arpeggiated over the bass pedal (interlude between choruses) and 1/2 step movement of a pentatonic phrase (top of 2nd chorus). Nunca Mais John D’earth - trumpet; Eddie Gomez - bass; Bob Moses - drums; recorded October, 1983 Fromthe album “Transitions,” Nunca Mais begins with the partially muted guitar rhythm. This percussive effect is done by relaxing left-hand finger pressure just enough to prevent the free vibration of the strings. Soloing for two choruses, Emily’s phrase lengths dramatically expand from the first to the second chorus, Two-note harmonic structures outline the chord changes on the last bridge, Waltz For My Grandfather Don Thompson - bass; Terry Clarke - drums; recorded June, 1982 From the album “Take Two,” Waltz For My Grandfather is another fine example of Emily Remler performing in the trio format. From the opening chorus to the guitar solo, use either a fingerstyle or hybrid (pick and fingers) right-hand approach. Emily plays single note lines through the second chorus of the solo. The fingerstyle technique resumes as lush chords are interposed with single note lines on the final solo chorus. Catwalk John D’earth - trumpet; Eddie Gomez - bass; Bob Moses - drums; recorded October, 1983 Catwalk, from the album “Catwalk,” begins with a repeating, syncopated eight-bar guitar figure, Use of the right- hand fingers (or pick and fingers) will facilitate the independent bass line. Note the shift to the fingerpicked two- bar samba pattem on the bridge and the strummed C section Latin-style rhythms. The head arrangement and Emily's first solo chorus are transcribed, Blues For Herb Hank Jones - piano; Buster Williams - bass; Marvin “Smitty” Smith - drums; recorded May, 1988 From the album “East To Wes,” Blues For Herb showcases Emily’s keen blues sensibilities. Note the voice- leading through the accented chords between melody phrases. Emily’ first solo chorus features straight-ahead blues playing. By the second, her lines intensify with bebop chromaticism, altered dominant tensions and pentatonic sequences. Emily concludes the solo with octaves for the last two choruses,‘Transitions John D'earth - trumpet; Eddie Gomez - bass; Bob Moses - drums; recorded October, 1983 From the album “Transitions,” Transitions is a modal journey of shifting meters and tonalities. The tune begins in cut-time with Emily arpeggiating phrygian structures. The chord changes of Transitions suggest the following scales for improv: Gmaj711=G lydian, F4min=F phrygian, Gfmin7=G¢ dorian, G/A=A mixolydian*, CYA=A. lydiang5, CYE=A lydiang5, A/B=B mixolydian*, GIA=A mixolydian* G§7=G4 lydian $7 (* or lydian b7). On the EWE, the soloists work off the Eb major chord tones. ‘The Firefly Hank Jones - piano; Bob Maize - bass; Jake Hanna - drums; recorded April, 1981 ‘The Firefly, from the album “Firefly” is representative of a more mainstream jazz style. In this quartet setting, Emily plays the stop-time melody, adding accented chords between phrases. In between the A sections note the improvised middle-cight. Soloing for three choruses, Emily builds intensity with a rapid-fire succession of eight notes that weave through key center modulations. East To Wes Hank Jones - piano; Buster Williams - bass; Marvin “Smitty” Smith - drums; recorded May, 1988 ‘The octaves that open East To Wes, from the album “East To Wes” immediately pay tribute to jazz guitarlegend, ‘Wes Montgomery. Emily’s two chorus solo evolves from poignant beginning motives with characteristic artistry and craft. Note the use of thirds, pentatonic sequences and pulloff patterns throughout the solo and the polyrhythmic octave slides in the second chorus bridge. Antonio John D’earth - trumpet; Eddie Gomez - bass; Bob Moses - drums; recorded October, 1983 Antonio, from the album “Carwalk,” shifts from a 4/4 rock groove to cut-time samba feel. Emily shares the angular melody with John D’earth through the A section, shifting duties to comping on section B. Emily's high- spirited “Antonio” solo is a personal favorite From section to section, the infusion of contrasting musical personality, character and attitude adds impetus as the solo develops over the two transcribed choruses Mozambique John D'earth - trumpet; Eddie Gomez - bass; Bob Moses - drums; recorded August, 1984 Mozambique, from the album “Catwalk,” consists of a 6/4 A section, followed by 4/4 swing. Emily begins the tune with the one measure ostinato pattern of the A section. On the first pass through the head, Emily and Eddie Gomez double the ostinato figure with octave unison. She joins John D’earth for the melody, adding chord fills between phrases on the following B section. The second time through the A section, Emily harmonizes the lead line in dths and adds harmonic color between phrases with 2nd and 4th intervals. Soloing for three choruses, Emily ‘expands on the pentatonic based melody employing some of her trademark devices using pentatonic repetition, sliding octaves and pulloffs. About The Transcriber Dan Bowden is a guitarist and music educator who resides in Brookline, Massachusetts with his wife and two children, Having graduated from Berklee College of Music in 1980, he joined the Berklee guitar faculty in 1989 where he teaches blues, jazz and rock styles. Dan has performed before blues, jazz, and rock audiences throughout ‘New England and Canada. Other transcription books available by Dan Bowden are: Wes Montgomery/The Early Years, Lightnin’ Hopkins/Blues Guitar Legend, Mance Lipscomb/Texas Blues Guitar Solos, Great Guitar- ists Of America and Fred MeDowell/Voice Of The Mississippi Delta Blues Guitar. Dan can be contacted via the internet at: dbowden@it.berklee.edu.Notation Legend HAMMER-ON PULLOFF HAMMER-ON AND PULLOFF SLIDE (LEGATO) ‘SLIDE (PICKED) ‘QUICK SLIDE UP. QUICK SLIDEDOWN —WHOLE'STEPBEND —-HALF-STEP BEND —_ fr (QUARTER.STEP BEND BEND AND RELEASE ‘TRILL, ‘SWEEP PICKING Tremolo Picking TREMOLO PICKING PERCUSSIVE (NO PITCH) STRUM DOWN STRUM UP.Fast Samba in 2 Introduction GIA Mocha Spice ©1991 Edson Pub.,Co.-ASCAP. All Rights Reserved. (Pickup to next section, 2nd time only) Used By Permission.Emily's Solo GMaj7 10DiFt ctm7 5) FE Bmin7 GMaj7 OIFE cMaj7 Bmin7 @Maj7 : Fein? 2 cim7bS) Fer Bmin7 GMaj7 ore CMaj7 Bmin7 E9GA, 46 2, Oe £ fe 4, ne GI Swoop Sweep | sweep SWeep—> Sweeps Sweep Bele NY ae cfm 5) Ff? Bmin7 GMaj7DFE CMaj7 Bmin7 GMaj7 2 Fr Brin? ottai7 Fémin7 CMaj7 Bmin7 9 GA roy i ds Pdddd ot Vd J rida 5) GMaj7 Ffmin7 cym7' Fer al ‘tin 4 # Da Bmin7 GMaj7 Ferrin? CMaj7 Bmin7 GMaj7 Ffmin7 cim7?S) ey 2Bmin7 GMaj7 F¥min7 oMmaj7 Let Ring? +Nunca Mais Fast Samba in 2 Introduction como EbmgDmg Dbmg 7-3— cma EbmgDm90bm9 hoa cma EbmgDm9Dbma 73 ©1991 Edson Pub.,Co.-ASCAP. All Rights Reserved. Used By Permission£7(b9) | Amin? pg Dmg G13 7Fim7b5) 182nd time, trumpet fils _ ft Ebm9_Dm9 Domo rs 19Ebm9_Dmg Dbmo ——— Dm Emily's Solo e7 Amin7 Do geen Soe eensBm7() 5) e7(9) E7(b9) Amin? De Dmg a7 oF Fam7(b5) F7 Emin? Eb3 pt _ > be ey Dmin7 Bmtt 7 Amin AminiG a”Ftm7(b5) Fmin7 bem = P P Dmin7 bbe ~ — bi e Pp P Pp a nna a 6 Ebm9 Dm9 Dhmg Ebm9 Dmg Obmo Emin7 cma oma cmaBm7(b 5) E79) E7(b9) tithe pve Amin? oa SES ats o Bm7(> 5) e7(49) E7(59) Amin7 be afte 2 pabe oe = a | | s a4 mee — = 7Dm9 Fym7(b5) Dmin7 Bmtt ig F4m7(b5), ars FT Fmin7 e7 Emin? Amin Emin7 eaDmin7 bbe como Ebm9_— m9 Dima comAt DMaj745 ) AG BIADAIG Emo Medium Fast fmt FHS Brin? er oo Emin7 ats. pe GMaj7 Waltz For My Grandfather ©1991 Edson Pub.,Co.-ASCAP. AI Rights Reserved. Used By Permissionmg AIS DMaj75 ) AIG_BhAb AIG cimti Brin? 70) oe C7sus4/G o7DMaj7 Bmin7 DMaj7 9. GMaj7 F765) Emily's Solo Emin7 opr) Emin7 GMaj7 ctm7 5) oR AT —" FY? —SBMaj7 87 Emin7 Ay DMaj7 aMaj7 Cfmin7 Far —FMaj7 Fr Emin7 AT DMaj7 GMaj7 opm7s) Fer Bmin7 F765) Emin? ATBMaj7 87 Emin7 AT DMaj7 GMaj7 Cfmin7 Fir Bmin7 F705) Emin? Az (5) a DMaj7 sae Grin?c7 FMaj7 F7 Emin7 AT DMaj7 GMaj7 ofr 5) Fir Bmin7 F705) Emin? AT= Fy oe 0 E g et 2 . Y= F , | | = = - Ss , | = == i 40- —10- | 7 - — —— | . {— Emin7 33DMaj7 Ais) Gmin7 c7 FMajZ, F7 Emin? Az DMaj7 GMaj7 ofm75) Fer 2 | LetRing——— | tating == Bmin7. F705) Emin? Az rss maa Let RingMaj? Mal cem7s) Fe DMaj7 GMaj7 Cfmnin7 Fy? 7 man 8 iJiw7 z WH dy Bmin7 F768) Emin7 AT 35DMaj7 ab7b8) Gmin7 c7 FMaj7 Fr Emin?Catwalk Fast Samba in 2. Introduction (Bass, Dims. entor 3 ) Bh(omit3) Frmin/Ab GhMaj7 Fminiab (Play a8) Gtr. overdub (2nd X oni Trp ah(omit3) Fmin/Ab oe ——— ‘© 1991 Edson Publishing Company ASCAP. All Rights Reserved. Used By Permissionos Bb(omit3) Fmin/Ab re Fmin/Abhy = 3 \ 4 i oe Pit hoy Ny 6 eaeite |p a i] iH Ul. AG oF sy » ~ it ates (LUT ao Mei + \|F Teer | wee af I) agar AG [st Uy) tee? 0 “Mee | | | Ag ott] | | | Tae PrP] I bo May. te tt at]Abr) FMaj7/G ast") cE EN EP ETS FS = o v ' v ‘ a Ft Pw 6 = = = wo . Ee = © te oF kK = = = =é &8 66666 § 6 SHH 5Dbmo aia Emo Ang Emily's Solo (1st Chorus) B>(omit3) Fmin/ab GiMai7 Fminvab BHomit3) Fmin/Ab aa89) Fminiab BL(omi bast GhMaj7 Fmin/Ab Bb(omit3) Frmin/Ab aaGina] Fmin/abs BMaj7 beBm7(b S/F BMaj7 am7(bsyF F7 Fmg Bbi3, Ebma Aba.Dima ona ebma annaBlues For Herb Medium Fast Swing Fis Ble Fig. F7i#5) ©1991 Edson Pub,, Co.-ASCAP. Al Rights Reserved. Used By Permission. aaGmin? _ Amin7,F7 c7 Gmin7 o7 F7 pb7 FT c7 Gmin7 07BaFT 7 Gmin7jz eS c7 tt : be se 9 We —=———— = = o S_ S| F 42 19- = + +4 “oe 07 Gmin7 eee Se EP aH + A 4040-4 4 = os 3c7 \ £7 oy fe os en be = pe — = * Le S | n 10 8 wo = 5040-1 10-104 = = ot = eee 6 = one | ee ee 8 oo D7 Gmin7 c7Transitions Introduction GMai7(#11) Ffm(SUS4)e FEm(susd) (©1991 Edson Pub.,Co.-ASCAP. AI Rights Reserved. Used By PermissionString Bass (Melody) =—- GMaj711) Ftm(5¥S4) 6 Fgm(sus4) - —— — oSonay74t) Fym(S484)-cim(S¥54) ——_gyajr(411) tt 4 Fim(US4)/e —Fym(Sus4) Fim(SUS4)/2 —Fpm(Sus4) GMaj7411)Ffm(6US4)je —Fpm(6U84) pate z 3 = | art rye ype ———S— Bes Ten o ie 1p]? ? aa E SSS SE omaj74t)GMaj7t1) Gfmin7 , tt ————— = pags = Se CHA GA CHE 2S Sar vi v v v Pilar ws var = SSS Pee ect —= ————————— GMai7'#11)Ftm(SU54) e-4m(6us4) Feed Emily's Solo Fm(SUS4)je p4m(sus4) GMaj7 Ffmin7 GMaj7 Ftmin7 GMaj7Fémin7 GMaj7 Ffmin7 GMaj7 Fimin7 GMaj7GMaj7 Ffmin7 3 Gtmin7 GMaj7 Gjmin7 GAGIA Cpe EWE AB GA ay GMaj7 Ftmin7 47GMaj7 mn, fa at ee a7 ef Ftmin7 GMaj7 «aFemin7 GMaj7 Ffmin7 GMaj7 Fein? yaiy Ftmin7GIA che EWE) AB GA a7 GMaj7 nThe Firefly Introduction Fast Swing Ne. Bhmin7 Ele Ne. 3p Abmin? be GbMaj7_—BMaj7 cm7S) 7 3 Bhmin? Eo No Abmin? D8 5 3 a ©1991 Edson Pub.,Co.-ASCAP. _All Rights Reserved. Used By Permission. ”GhMaj7 BMaj7— cm75) oF Bhmin air wae Ebmin7 AT DbMaj7 eb745) abr Ebmin7 biz c7 F7 No Blmin? £9 3p | 3Ne Abin? obo GhMaj7—BMaj7 com7?5) Fz Bhmin F7 Bbmin F7 BMaj7 Bbmin7 el7 Abmin7 bb7 GiMaj7_—— BMaj7 = St 7acm7S) °7 Bbmin cm7?S) Fz Burin? e7 Abmin? ob7 GhMaj7_— BMaj7 75Bbmin7 el7 Abmin7 biz GbMaj7 BMaj7 com75) F7 942 — 9 tt “We 9 Bbmin com75)—F7 Bimin? 2 aan FE #eete e tet ee, et SS = o ~ s ° 8 oe * 1 = — 5 16eb7 Abmin7 GiMaj7_—BMaj7 om7?5) com7?5) e7 \ = - ~* He == saree =: ot ev ad 2 Bbmin7Bbmin Bi7 Ebmin7 Abmin7 o7 Gintaj7 BMaj7Bhin7 erAbmin7Abmin7 o7 Gintaj7 BMaj7 be ==> See SSS = = | | r 6 se cm7 (5) FT Bbmin m7 5) F7East To Wes Gmin7 F7 EbMaj7, Omin7 Bb7/ab * THe Medium Fast Latin Gmin7 F7 EbMaj7 F Dmin7, Amr?5) p79) a7) cis ria) Bins $6: bes: 2 (9,43) Gmins po13%c13 F139) B13 eS ‘A1349) p7! =A. 7A 0755) Gmin? FT. ElMaj7 Drmin7 (©1991 Edson Pub.,Co.- ASCAP. __AIIRighis Reserved. Used By Permission,Bi7iAb Gmin7 comin? FF abMai7 ——ebMaj7 by dy Ee a Let Ring- am765) pz i705) c7 87 BbMaj7 am7?S) 7 ehaj7 Amin? 7 eiMaj7 Amin? 7, 83Emily's Solo am7(5) p79) Gmin am7?5) 7 @min7 an m4or Cmin7 F7 BbMaj7 EbMaj7 Am7(5) 7 Gmin7 az am7(h8) 7 Gmin am7s) o7 Gmin7 a7 min?E)Maj7 & e af —= | Pp P P Ce ——_ = 4 Amin? D7 EbMaj7 Amin7 D7 87Gmin7 Am7?5) 7 \. Gmin7 = = = 65 43 56 —j F7 BbMaj7 EbMaj7 — : ve ea ss = aii sid aoe — 5 35 E == = am7?5) D7 39 \ f ope — =F be 2 ! oS == ea Sey ES oe Ca ee _ H— H | — = S —+— = =Sweep ~ > 4a - 8.EbMaj7 Amin? o7 ebMal7 Amin7 7 EoMaj7 Amin? -—3— o7 EpMaj7 Amin7 o7 ! EbMaj7 am75) o7 Gin aAntonio Intro Bas line NC. 9 Guitar (octave unison w/ tept.) Ne. ©1991 Edson Pub.,Co.- ASCAP. All Rights Reserved. Used By Permission,TipCutsime fool | D9_GMal7_CMaj7 Fim7(b5) B7(b9) Emin? E79) Amin? _D8_GMaj7_CMai7 End curttime fee! Ftm7(b5) 8749) Gmai13Emily's Solo mais Fim7(b5) 87(b9)_ Emin? ote E7 Amin7 e7 Cuttime fee! Amin? D9 GMaj7 Do GMaj7 cMaj7 CMaj7Fim7(bs) 8769) Emin? = Amin? D9 GMaj7_—_cMaj7 ns ee ee f 4 H ee, F670 1012 2 ie End cut-time feet Fim7(bs) 8749) GMai7*5 4a7Cut-te feo! a la Amin? DS GMaj7_— CMaj7 Fim7(b5) 87(49) Emin? ——«E_ Amin? D8. GMaj7_—CMaj7_FEm7(b5) B7(bo) Emin? ET Amin? D9 GMej7_CMaj7_—FEm7(b5)—B7(b9) Emin7 e7 oe Py p34 5 3 he Dy ee tls veh End cutstime feo! Amin7 be GMaj7 cMaj7 Fim7(b 5) B7(b9) on0Mozambique Introduction F084) Emin? emus) Fmin? F484) min Guit Wy fle py — rhe — a as & = Pee | em(eues) Fring Fmicus4) Fein? ab pap NE Nt ey QS Sot Opp mC H — t oe = = a a ©1991 Edson Pub.,Co.-ASCAP. AI Rights Reserved, Used By Permission.Ebmtt Emtt Fmt Ghmtt am(Tip fills) Fm(sust) 109Fm(6us4) Fin? Fm(sus4) min? Fm(sus4) Fmin? iE 102Emily's Solo Fm(sus4) Frin? Ff us) Fin? Fm(Su4) Frin7 Fm(sus4) Fmin7 Ab mis) Fin? Frn(sus erin? Fm(sus4) Fmin7 Dottai75) Dmtt 104apo Ro ee CO Diaai75) Omit Dintaj765) Dmit Dmit Ebmit Emit Fmtt Ghmtt F(suss) Fria? F084) Frin7 Fm(sus4) Fmin7 Fm(sus4) Fmin? 105Fmt) min emu) Emin cm(tus4) min? Fm(sus4) Fmin7 Fm(sus4) Fmin7 Ab Em(sus4) Fmin? Fm(sus4) Fmin7 Dbmtaj705) mit Dintaj765) Dmit 106Dmtt Emit Emit Fmt abmit : SIRT ES ET Fm(sus4) Fmin7 Fm(sus4) Fmin7 Fm(sus4) Fmin7 107rm(sues) Fin? em(tus4) Fming mous) min? '¢——16 —10—11—6- a2 Bs risus) Fin? Dimai7s) bmi piaaj75)Dmtt Dintai75) Dmit Dmit 4. ebmtt Emit Fmt Ghmtt = 100