JIMMY NOLEN AND ALFONZO “COUNTRY” KELLUM -guilars+ in this tune in that they all have to lock up with Melvin Parker's no-backbeat drum pattern, You can either start to panic now, or you can use this groove as an exercise to throw away the crutch of anchoring your feel off of these two beats ‘The subtle hithat and ghosted snare drum parts you'l have to depend on in this tune won't be as “in-your-face” as a pounding backbeat, but they are there as guides, nevertheless. Guitar One is a streamlined, less notey version of the sec- ‘ond guitar part, Aside from the open “E” strings used to ham- mer into the low “F's,” every note of Guitar One meets in uni- ‘son with the second part, The dissonant clashes between the low “E's” of Guitar One and the low “F's” of Guitar Two are lessened by occurring on relatively weak rhythmic spots (the last sixteenth-note of beats “two” and “four”). The wah-wah pedal used in the second guitar part also masks this problem T guitar players share 2 common mission with the bass toa certain extent, While Guitar One is a piece of cake to play, the second part has a few technical problems you'l have to deal with, Skipping over the open “A” string on beat “one” when jumping from the "By" on the “D” string to the low *F” on the “E” string involves a bit of lefthanded finesse. You can either finger the low “F" with the thumb of your left hand, you can play both notes with the fingertip of your first finger and quickly jump over the ‘open “A” string, or, you can use a first finger barre across the three lower strings. In order to maintain the almost-muted, staccato feel ofthe notes, you'll have to rock the barre back- wards from the “D" string to the low “E” string to avoid having, the notes ring out. Beat “two” features the same fingering, problem, but it's further complicated by the light, almost ‘muted touch you have to apply to the three “Ey’s” In the never-ending debate over an approaches versus the methodology of just playing what you feel, this song makes a case for the latter philosophy. The melodic, harmonic, and rhythmic elements can easily be ‘explained by dropping the names of a scale, a mode, or a few rhythmic catch-words like “syncopation” or “backbeal.” But as ‘you can see from the previous paragraph, elements of touch, time, emotion and all the rest of the infinite shadings and ‘nuances that comprise “feel” are far more elusive elements to describe and play. « VERSE (# = 111) F Dovian Gir.2 (wiwah-wah) Vamp 4 nue nec nla wih et hares at hey have almost opi