ORVILLE (THE SECRET OF

FORGETTING...)
As recorded by Jon Gomm
(From the 2017 Album LIVE IN THE ACOUSTIC ASYLUM)

Tuning - A#1 F2 C3 F3 A3 C4
A Intro

e e 4 Note 1 l V j k c l l
1
I 4 1V 3 V 3V V V VV V VV V VV V V
1V VV
2
VV VV
2 2 2
1V 1V 1V 1V
3 2
V
1 1 1 1
1 1
1 1
Left hand (inverted)
T
A 5 5 7 9 5 5 2 2 4 5
B 7 7 7 7 5 5 4 4 4
7 H H
7 H
7 sl.H sl.
7 5 H H
5 4 H H
4 H
4 sl.H sl.
sl.H H H H sl. H sl. H H

e
Ie 44 } } } } } } } } } } } }
Right hand
Snare 1
T x x x x x x x x x x x x
A
B
m

e k 2} s}
Note 3
4
Ie j k c l
V VV V
l
V VV V V V VV V
l
V VV
1V V V V V V V
1V
2
V Snare 2
(all-notes hammered-on...) Bongo 2
x
T
x
A 2 2 0 5 5 7 9 5 5
B 2 0 7 7 7 7 5 5
2 0 P
7 7 7 sl. sl.
7 5 5
P sl. sl. sl.
Note 2
e
Ie } } } } }
}
}
}
}l}
}
}
}
} l}l l}
} }
}
}
}
}
Bongo 1

T x x x x x x x x x x x x x x
A x x x x x x x x
B
s p

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 2 of 19

B 1st Verse

Ie
e l k } } l l
7
V VV V V V V VV V V VV V V V
VV V V VV V
V V V V
x
T
x
A 2 2 4 5 2 2 0 5 5 7 9
B 4 4 4 2 0 7 7 7
4 4 4 sl. sl.
2 0 P
7 7 7 sl. sl.
sl. P sl.

Note 4
e V V V 1V V
Ie } } } } } l } } } } } l } l } l } } } j } } V
1
} }
p

0 0
T x x x x x x x x x x x 8 7 0
9
A x x x x x x x
B x
Neck Hsl. a P H a
hit

e } k } }
10
Ie k } VV V
l
V VV
l
V VV V V V V VV
l
V V VV V V VV V
V
x x
T
x x
A 5 5 2 2 4 5 2 2 0
B 7 5 5 4 4 4 2 0
7 5 5 4 4 4 sl. sl.
2 0 P
sl. sl. sl. P

t t ttt
e
Note 5

Ie } } l } l } } } } } } } } } }
}l l}
} }
}
}
}
}
Touch harmonics
N.H.
[19]
T x x x x x x [19] [12] x x x x
[19]
A x x x x x x x x x x x
B
p(i) p(i) p(i) p(i)

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 3 of 19

e
Ie V l V k } } l l k } } l
13
V VV V V VV V V VV V VV V V V V VV
V V V V V VV V V VV V
V
x x
T
x x
A 5 5 7 9 5 5 2 2 4 5 2 20
B 7 7 7 7 5 5 4 4 4 2 0
7 7 7 sl. sl. 7 5 5 4 4 4 sl. sl.
2 0 P
sl. sl. sl. P

VVV t t
e tt t
Ie } } } V V1V V } } l } l } } } } } } } } } }l l} } }
2

} } } } }
1

}
Touch harmonics
N.H.
97 0 0
T x x 7 0 x x x x x x [19] x x x x
9 [19] [12]
A x x x x x x x [19] x x x x x
B x
Hsl. H P P H a

e
Ie V l V k } } l l k } } 2t q
17
V VV V V VV V V VV V VV VV V 2t qq
2t
V V V V V VV V V
N.H.
x x
T
x x
A 5 5 7 9 5 5 2 2 4 5 [12]
B 7 7 7 7 5 5 4 4 4 [12]
7 7 7sl. sl.
7 5 5 4 4 4 sl. sl. [12]
sl. sl. sl. P

t t tt Note 6 c
t
Note 7
e V
1 V
V V1 V V V V l } l } l } } } } } } } } } t 1V
Ie } } } tt } } VVV VVV
} t
Touch harmonics
N.H. N.H.
0 0 [19] 0 0
T x x 8 7 0 x x x x x x [19] [12] 0 0
9 10 9 [19] [12] 0 0
A x x x x x x 16 ([12]) x x
B x ([12])
Hsl. P Psl. sl. P
([12])
a

C 1st Chorus half barre

3 thumb 3
}}} }}}
slap
e
Note 8
21
Ie VV V VV VV }} 1V 2
V V V 1V V 2 V V VV V VV VV }} V V V V 4V V 1V V
1V 4V V V } V V } V V V V V } V V } V
1
1
1 3 1
Rim strum Rim strum
x 0 0 0 x 0
T x 0 x 0 0
x 9 x 0
A 7 7 7 x 9 10 10 7 7 7 x 9 10 10 7
B 7 9 9 9 x 0 7 9 9 9 x 0
7 9 9 9 x 9 H
9 x a H a p m 7 9 9 9 x 9 H
9 x
H p i a H H p i a H m H m p i
Bridge p p p
thump x x

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 4 of 19

1. Note 9

V V tt
e VVV VVV VVV }}} VVVV 32 VV 21 VV 32 VV VV 21 V 42 V VVV VVV VVV }}} }}} VVVV 32VV 21 VV 32 VV VV t
1

23
Ie
1
1
VV 3 V VV VV } VVVV VVVV VV V VV VV } VVVV VVVV } VVVV 1
1
1
1
V V V }} 1
1
VV VV VV V V V }} VV VV }} VV VV
1
1 1 3
Right hand plays circled notes
N.H.

T
5
5
5
5
5
5
x
x
0
0
0
0
0
0
5
O 7 5
O
0 10 9 5
5
5
5
5
5
x
x
0
0
0
0
x
x
0
0
0
0
5
O 7 5 0 [12]
[12]
A 5
5 7
5
7
5
7
x
x
0
5
0
5
0
5
5
O 7 5 0
O 9 7 5
5 7
5
7
5
7
x
x
0
5
0
5
x
x
0
5
0
5
5
O 7 5 0 [12]

B 5 5 5 x 5 5 5 5 5 5 x 5 5 x 5 5
5 5 5 x 5 5 5 H P P H P
5 5 5 x 5 5 x 5 5 H P P Slap harm.
H H H H
(Right hand)
x Hold bassnotes - - - - - - - - - -¦ x

2. mute strings with

left hand

25
Ie
e VVV VVV VVV
VV V VV VV
}}}
} VVVV VVVV VVVV 32VV 21 VV 32 VV VV 21 VV VV VVV VVV VVV
VV V VV VV
}}}
} VVVV VVVV VVVV VVVV VVVV }}}
}}
}}}
}}
}}}
}}
}}}
}}
V V V }} VV VV VV V V V }} VV VV VV VV VV } } } }
T
5
5
5
5
5
5
x
x
0
0
0
0
0
0
5 O 7 5 0
O 2 0 5
5
5
5
5
5
x
x
0
0
0
0
0
0
0
0
x
x
x
x
x
x
x
x
A 5
5 7
5
7
5
7
x
x
0
5
0
5
0
5
5 O 7 5 0
O 2 0 5
5 7
5
7
5
7
x
x
0
5
0
5
0
5
0
5
x
x
x
x
x
x
x
x
B 5 5 5 x 5 5 5 5 5 5 x 5 5 5 5 x x x x
5 5 5 x 5 5 5 H P P H P
5 5 5 x 5 5 5 5 x x x x
H H H
x x

Muted slaps (strings against frets)

e }}} k }}} l }}} l }}}

Note 10
27
Ie 1 V V V } } 1V V V 1V V VV 1 VV VVV VVV } }
k
}} }} }} }}
1V 4
VV VV VV }} }} V V
1
VV 4 V V V }} }} } } } }
1V 3
4

\\
3 3 3

Left hand
2 0 x x x x
T 0 x x x x
2 0 0 0 0 x x x x
A 2 2 2 x x 2 3 3 3 x x x x x x
B 2 4 4 4 x x 4 5 5 5 x x x x x x
2 4 4 4 x x 4 P
4 P
4 5 5 5 x x x x x x
H p a p m i sl. H H H H

e }
Ie } } } } } } } } l } } l }
Bongo 1 Snare 3
Right hand
x
T
Bridge
A thump x x x
B x x x x x x x x
w p s p s f p

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 5 of 19

e }}}
RH string

Ie V V V } } V V V 2 VVVV4V 44 U
slap
29
V V 4 1 V4 V 4 V }}
VV VV VV VV }} }} V 1V VV
1

1V }
V V V
1
1

KK0
1 1

2 0 x KK0
T 0 x
KK0
A 2 0 x
KK55
L5
2 2 2 x x 2 4 5 x 7 (7)
B 2 4 4 4 x x 2 4 x
2 4 4 4 x x 4 P
4 P
2 4 x
H H p m c H
i

e 24 j 44 }
Ie } } } } } } } }
T
A x x x x
B x x x x x

D 2nd Verse

k } } k } }
(Fingering as 1st Verse)
e
Ie V V l V V V V V l
VV V V V V V V V V V V V
l l
VV V V V V
32

V V V V V V V V V
Left hand (inverted)
(All notes hammer-on...)
x x
T
x x
A 5 5 7 9 5 5 2 2 4 5 2 2 0
B 7 7 7 7 5 5 4 4 4 2 0
7 7 7sl. sl. 7 5 5 4 4 4 sl. sl. 2 0 P
sl. sl. sl. sl. P

tt tt
e VVV VV }l l} } } t
Ie } } } V } } } } }
}
}
}
}
}l l} } }
} } } }
}
Right hand N.H.
0 0 [19]
T x x 8 7 0 x x x x x x [19] [12] x x x x
9 [19]
A x x x x x x x x x x x x
B x
Hsl. P

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 6 of 19

k } } k } }
Note 11
e l l l } l} } k
36
Ie V V VV V V V VV V V VV V VV V V V
V V V V V VV V V VV V
V
x x
T
x x x xx
A 5 5 7 9 5 5 2 2 4 5
B 7 7 7 7 5 5 4 4 4 2 0
7 7 7 sl. sl. 7 5 5 4 4 4 sl. sl.
2 0
sl. sl. sl. P m mi

VVV t t
e tt t
Ie } } } V V V V } }l}l} } } } } } } } } }
}l l} } l} l }
} } } }
}
N.H.
97 0 0
T x x 7 0 x x x x x x [19] x x x x x
9 [19] [12]
A x x x x x x x [19] x x x x x
B x
Hsl. H P P s p s p s

e
Ie V l k } } l l k } } t q
40
V VV V VV VV V V VV V VV V V V tt qq
V V V V V VV V V
N.H.
x x
T
x x
A 5 5 7 9 5 5 2 2 4 5 [12]
B 7 7 7 7 5 5 4 4 4 [12]
7 7 7sl. sl.
7 5 5 4 4 4 sl. sl.
[12]
sl. sl. sl. P

t t tt t t c Note 12
e V V V V V V V l}l l} } V
Ie } } } V } } }
}
}
}
}
} tt } PR } }
} t
N.H. N.H. [[
0 0 [19]
T x x 87 0 x x x x x x [19] [12] x
9 10 9 [19] [12]
A x x x x x x 16 ([12]) x x x
B x ([12])
Hsl. P Hsl. sl. P
([12]) Bongo
roll
E 2nd Chorus
3 3
}}} }}}
(Fingering as 1st Chorus)

e e V V V V V V V V V V V V V V V V
44
I VV V VV VV }} VV V VV VV }}
V V V V } V V } V V V V V } V V } V
x 0 0 0 x 0
T x 0 x 0 0
x 9 x 0
A 7 7 7 x 9 10 10 7 7 7 x 9 10 10 7
B 7 9 9 9 x 0 7 9 9 9 x 0
7 9 9 9 x 9 H
9 x H
7 9 9 9 x 9 H
9 x H
H H H H
x x

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 7 of 19

e VVV V VVVV VVVV }}} VVVV VVVV V V V V V

VVV V V V VV V V VVV VVV VVV }}} VVVV VVVV }}} V V VV VV VV V ttt
46
Ie VV V V } VV V VV VV } } VV VV V
V V V }} VV VV V V V }} VV VV }}
3
N.H.

T
5
5
5
5
5
5
x
x
0
0
0
0
0
0
5
O 7 5
O
0 10 9 5
5
5
5
5
5
x
x
0
0
0
0
x (0) 0 5 7 5 0 [12]
x (0) 0 [12] O
A 5
5 7
5
7
5
7
x
x
0
5
0
5
0 5
O 7 5 0
O 9 7 5
5 7
5
7
5
7
x
x
0
5
0
5
x (0) 0 5 7 5 0 [12]
x O
B 5 5 5 x 5 5 5 5 5 x 5 5 x
5 5 5 x 5 5 H H P P H P
5 5 5 x 5 5 x H H P P
H H
x x
half barre IX half barre
3 Note 13 3
}}} }}}
3
e
3
V V V 2V V V V
3
48 e
I VV V VV VV }} 1V 2 V
1
VV V VV VV }} 1V 2 4 V V 1V V
V V V V } 1 V V 3 V V V V } 1 V V
x 0 0 x 0
T x 0 x 0
x 9 x 0
A 7 7 7 x 9 10 10 7 7 7 x 9 10 10 7
B 7 9 9 9 x 0 7 9 9 9 x 0
7 9 9 9 x 9 H H
7 9 9 9 x 9 H H
H p i a p a p m H p i a p m p i
x x

50
Ie
e VVV V VVVV VVVV
VV V V
}}}
} VVVV VVVV VVV VV VV VV VV VV VV VVV VVV VVV
VV V VV VV
}}}
} VVVV VVVV VVVV VVV VVV }}}
}}
}}}
}}
}}}
}}
}}}
}}
V V V }} VV VV V V V }} VV VV VV } } } }
T
5
5
5
5
5
5
x
x
0
0
0
0
0
0
5 O 7 5 0 O 2 0 5
5
5
5
5
5
x
x
0
0
0
0
0
0
0
0
x
x
x
x
x
x
x
x
A 5
5 7
5
7
5
7
x
x
0
5
0
5
0 5 O 7 5 0
O 2 0 5
5 7
5
7
5
7
x
x
0
5
0
5
0 0 x
x
x
x
x
x
x
x
B 5 5 5 x 5 5 5 5 5 x 5 5 x x x x
5 5 5 x 5 5 H H P P H P
5 5 5 x 5 5 x x x x
H H
x x

e
Ie V V V } } V V V V V VV V VV VV } k }}} k }}} l }}} l }}} V V V V
52
} } } }
}} } } } } VV V VV VV }} }} V
VV VV VV VV }} }} V V VV VV VV VV }} } } } } } VVVV}}V V
2 0 x x x x 2 0
T 0 x x x x 0
2 0 0 0 0 x x x x 2 0
A 2 2 2 x x 2 3 3 3 x x x x x x 2 2 2 x x
B 2 4 4 4 x x 4 5 5 5 x x x x x x 2 4 4 4 x x
2 4 4 4 x x 4 P
4 P
4 5 5 5 x x x x x x 2 4 4 4 x x 4 P
4 P
H sl. H H H H H

e
Ie } } l} l} }
} } } } } } } } } } }
x
T
A x x x
B x x x x x x x x x x x x

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 8 of 19

e }}} c
55 e
I V V V } VVVV V 44 U V
VV V V }} VV
KK0
x KK0
T x
KK0
A x
KK55
L5
2 4 5 x 7 (7) (7)
B 2 4 x
2 4 x
H H

e j 44 }
Note 14
} } } } }
Ie } } } } } } } }
[[[[
T x x x x x
A x x x x x x x x
B x
F Solo Left hand

e
Note 15

}} l }} l k c }} }} l }} l k c }} }} l }} l k c }} }} l }} l k c }}
string slaps
58
Ie
1V V } } V VV } VV VV } } VV VV } VV VV } } VV VV } VV VV } } VV VV }
1V V } } V } } } } } } } } } }
Left hand (inverted)
T
x x x x x x x x x x x x
A x x x x x x x x x x x x
B 4 4x x4 4 x 4 4x x4 4 x 5 5x x5 5 x 5 5x x5 5 x
4 4x x4 4 x 4 4x x4 4 x 5 5x x5 5 x 5 5x x5 5 x
H H H H H H H H H H H H H H H H

e
Ie } } } } } } } } } } } } } } } }
Right hand
T
A x x x x x x x x x x x x x x x x
B

e
62
Ie }} l }} l k c }} }} l }} l k c }} }} l }} l k c }} }} l }} l k c }}
VV VV } } VV VV } VV VV } } VV VV }
VV VV }} }} VV VV }
}
VV VV } } VV
} }
VV }
} } } } } } }
T
x x x x x x x x x x x x
A x x x x x x x x x x x x
B 4 4x x4 4 x 4 4x x4 4 x 5 5x x5 5 x 5 5x x5 5 x
4 4x x4 4 x 4 4x x4 4 x 5 5x x5 5 x 5 5x x5 5 x
H H H H H H H H H H H H H H H H
Note 16
e
Ie }
3
} } }}} } } } }}} } } } } } } } }
[
T
A x x x xxx x x x xxx x x x x x x x x
B
scratches scratches
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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 9 of 19

e
Ie }} l }} l k c }} } l } l k c }}
VV }} }} V
66

VV VV }} }} VV VV }} VV
} } V
VV }}

T
x x x x x x
A x x x x x x
B 4 4 x x 4 4 x 4 4 x x 4 4 x
4 4 x x 4 4 x 4 4 x x 4 4 x
H H H H H H H H

e 2 V 3V 1P 1 V
V 2V
V1 2 V 4gV 1 V 3 1 Pz 1 V V1 V 2V 2 V 1V
Ie k 1 V 2f V
3V 1 V k k 1

z
all notes hammered... let ring
14 16 14
T 12 15 11 12 12 15 13
9 11 12 9 11 11 12 15
A 9 11 12
B
H H H H Hsl. sl. H H H H Hsl. sl. Hsl. H sl. H

e
68
Ie }} l }} l k c }} }} l }} l k c }}
VV VV }
} }} VV VV }} VV VV }
} }} VV VV }}

T
x x x x x x
A x x x x x x
B 5 5 x x 5 5 x 5 5 x x 5 5 x
5 5 x x 5 5 x 5 5 x x 5 5 x
H H H H H H H H

2W VV 1 tt t V
ee W k u l u
VV VV VV l t V 21bPPz 21 VV
2 1
1
I u
1 1

slap slap
harm harm
N.H. N.H.
14 14 [12] 10 10 10 [12] 8 9
T 13 [12] 10 10 10 [12] 7 8
A
B
H H H H H H sl.

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 10 of 19

e
70
Ie }} l }} l k c }} }} l }} l k c }}
VV VV } } VV
} }
VV }} VV VV } } VV
} }
VV }}

T
x x x x x x
A x x x x x x
B 4 4 x x 4 4 x 4 4 x x 4 4 x
4 4 x x 4 4 x 4 4 x x 4 4 x
H H H H H H H H

e VV V 2V 3 V 2 V V V V V V V V V V V V 3 V 2V V 2V 1 V V
e 1V 1V V V V
3
I
let ring
9 7 9 7 9 7 9 0 12 0
T 8 8 8 8 8 8 8 0 12 0
7 7 7 7 7 7
A
B
H H H H H H H H H H H H H H H H H H H H P P H H P P

e
72
Ie }} l }} l k c }} }} l }} l k c }}
VV VV }
} }} VV VV }} VV VV }
} }} VV VV }}

T
x x x x x x
A x x x x x x
B 5 5 x x 5 5 x 5 5 x x 5 5 x
5 5 x x 5 5 x 5 5 x x 5 5 x
H H H H H H H H

V 2V 3 V 2 V V V 3 V 2t
e 1V 1V V V V V t t c
3

V
2

Ie V
2

u V 1V
Note 18
N.H.Tapped harmonics
14 12 14 12 14 [12] 0
T 13 13 13 13 [12] 0
12 12 12 12 [12] 0
A
B 11
H H H H H H H H H H H H H a m i sl. H

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 11 of 19

e
74
Ie }} l }} l k c }} }} l }} l k c }}
VV VV } } VV
} }
VV }} VV VV } } VV
} }
VV }}

T
x x x x x x
A x x x x x x
B 4 4 x x 4 4 x 4 4 x x 4 4 x
4 4 x x 4 4 x 4 4 x x 4 4 x
H H H H H H H H

e k 1V 3 V 1
V V 1V 3 V 3 V 1 V V l 1V 2 V 1 V 3V
3 V
Ie 1V 3 V 3 V
2

7 9 12 9 (9) 7 9 12
T 7 8 7 8
7 9
A 5 7 9
B
H sl. H H H sl. P sl. H H sl. P

e
76
Ie }} l }} l k c }} }} l }} l k c }}
VV VV }
} }} VV VV }} VV VV }
} }} VV VV }}

T
x x x x x x
A x x x x x x
B 5 5 x x 5 5 x 5 5 x x 5 5 x
5 5 x x 5 5 x 5 5 x x 5 5 x
H H H H H H H H

VV VV VV
e 11 VV VV VV VV VV VV 2
k
2 2
V V V V
2 2 2 2
e V
2
I
1 1 1 1 1 1 1

u
1

let ring
10 7 9 0 9 10 0 10 12 0 12 14 0
T 10 6 8 8 10 10 12 12 13 0
A
B
P sl. H sl. P H sl. P H sl. P H sl. P P

e
78
Ie }} l }} l k c }} }} l }} l k c }}
VV VV } } VV
} }
VV }} VV VV } } VV
} }
VV }}

T
x x x x x x
A x x x x x x
B 4 4 x x 4 4 x 4 4 x x 4 4 x
4 4 x x 4 4 x 4 4 x x 4 4 x
H H H H H H H H

V V V V V V V V
e V V V V V V V V V
V 2V
2
V V V V
2 1

Ie
1 1 1 2 1
V V V V
2 1
1

14 0 12 (12) 0 9 0 12 0 9 (9) 0
T 10 0 12 0 10 (10) 0 8 0 10 0 8 (8) 0 6
A
B
P H P H P P H P P P H P H P P H P H
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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 12 of 19

G 2nd Intro Note 20

e left hand string slaps
l
80
Ie }} }} }} VV V V V V VV
V
VV } } } UU V
(All Note hammered on....)
let ring p

T
A x x x 5 5 7 9
B 5 x x x 2 7 7 7
5 x x x 2 7 7 7 sl. sl.
H H sl.

e V V R c } } } }
Ie V
Note 19
2 V V 1 P 1V V } } }
1
u
let ring let ring p

T (6) 5 0 x x x x
5 0
A 3 4 (4)
B x x x
sl. H P P Hsl. neck hits

e
83
Ie j k c
VV V V
l
V V V
l
V V V V V
j k c
V
l
V V
V V VV V V VV V
V
T
A 5 5 2 2 4 5 2 2 0
B 7 5 5 4 4 4 2 0
7 5 5 4 4 4 sl. sl.
2 0 P
sl. sl. P

e
Ie } } } } } } } } } } } }

T x x x x x x x x x x x x
A
B

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 13 of 19

e l j k c l l
86
Ie V V VV V V V VV V V VV V VV V V V
V V V V V VV V V
mf f

T
A 5 5 7 9 5 5 2 2 4 5
B 7 7 7 7 5 5 4 4 4
7 7 7 sl. sl.
7 5 5 4 4 4 sl. sl.
sl. sl. sl. sl.

e
Ie } } } } } l } } } } } l } l } l } } } } } } } } } } } l } } } } }
mf f

T x x x x x x x x x x x x x x x x
A x x x x x x x x x x x x
B

H 3rd Verse

e e k } } l l V k } } l
I V VV V V V VV
VV V V V V VV
89

V V VV V
V V V
ff mf
x x
T
x x
A 2 2 0 5 5 7 9 5 5
B 2 0 7 7 7 7 5 5
2 0 P
7 7 7 sl. sl.
7 5 5
P sl. sl. sl.

e VVV
Ie l } l } l } } } j }
}
} V V V }}l}l}} } } } }
}
ff mf
0 0
T x x x x x 8 7 0 x x x x
9
A x x x x x x x x
B x
Hsl. P H

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 14 of 19

Ie
e l k } } l l
92
V VV V V V V VV V V VV V V V
VV V V VV V
V V V V
x
T
x
A 2 2 4 5 2 2 0 5 5 7 9
B 4 4 4 2 0 7 7 7
4 4 4 sl. sl.
2 0 P
7 7 7 sl. sl.
sl. P sl.

t t ttt
e
Ie } } } }l l} } } } } VVVV VVVV
} } } } } } }
N.H.
[19] 0 0
T x x [19] [12] x x x x x x 8 7 0
[19] 9 10 9
A x x x x x x x
B x
Hsl. P Hsl. sl.

e } k} } t q
95
Ie k } VV V V VV
l l
V VV V V V tt qq
V V VV V V
N.H.
x x
T
x x
A 5 5 2 2 4 5 [12]
B 7 5 5 4 4 4 [12]
7 5 5 4 4 4 sl. sl.
[12]
sl. sl. P

t t ttt t c
e V
Ie l } l } l } } } } } } } } } tt } } } }
t
N.H. N.H. [[[
[19]
T x x x x x x [19] [12] x
[19] [12]
A x x x x x 16 ([12]) x x x
B ([12])
P
([12])

I 3rd Chorus Note 21 ras. ras.

e 1 }} }}} }} VVV VVV VVV }}}

Ie VV11 4V VV VV }}} }} VVVV WWWW VV V VV VV }}} l VVVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VV 3 V V V l VV
}} VVVV VVVV VVVV VVVV VVVV VVVV VVVV
1

1 VV
98 1

V 3V V V } } VV WW VVVV} V VV VV VV VV VV VV VV 1
VV VV 1V
} VV VV VV VV VV VV VV
V 1V
1 1
1

G G
1
1

x K0 x K0
1

x KK0 x KK0
x x 0 0 0 0 0 0 0 5 5 5 0 0 0 0 0 0
x K0 x K0
T x x 0 0 0 0 0 0 0 5 5 5 0 0 0 0 0 0
7 7 x KK7 x KK5
x x 0 0 0 0 0 0 0 5 5 5 0 0 0 0 0 0
A
7 9 9 9 x K7 x K5
7 7 7 x x 7 7 7 7 7 7 7 7 5 7 7 7 5 5 5 5 5 5
7 9 9 9 x K7 x K5
B 7 9 9 9 x x 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5
7 9 9 9 x x 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5
Bridge
H H H
thump
x x x

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 15 of 19

ras. 3 3

e VVV V VVV }}} l VV }}} }}}

Ie VV V VVV V }} VVV VVVVV VVVVV VVVVV VVVVV VVVVV VVVVV VVVVV V V VV }} V V V V V V V V VV V VV VV }} V V V V V V V V
V V V V V VV VV VV
101

V VV VV } V
4
3 VV V}V V}V VVV V}V V}V
G
1

x K0
x KK 0
5 5 5 0 0 0 0 0 0 x 0 0 0 x 0
x K0
T 5 5 5 0 0 0 0 0 0 x 0 x 0 0
x KK 12
5 5 5 0 0 0 0 0 0 x 9 x 0
A
x K 12
5 7 7 7 12 12 12 12 12 12 7 7 7 x 9 10 10 7 7 7 x 9 10 10 7
x K 11
B 5 5 5 12 12 12 12 12 12 7 9 9 9 x 0 7 9 9 9 x 0
5 5 5 11 11 11 11 11 11 7 9 9 9 x 9 H 9 x H
7 9 9 9 x 9 H 9 x H
H sl. H H H H
x x x

104
Ie
e VVV V VVVV VVVV
VV V V
}}}
} VVVV VVVV VVV VV VV VV VV VV VV VVV VVV VVV
VV V VV VV
}}}
} VVVV VVVV VVVV VVVV VVVV }}}
}}
}}}
}}
}}}
}}
}}}
}}
V V V }} VV VV V V V }} VV VV VV VV VV } } } }
T
5
5
5
5
5
5
x
x
0
0
0
0
0
0
5 O 7 5 0
O 2 0 5
5
5
5
5
5
x
x
0
0
0
0
0
0
0
0
x
x
x
x
x
x
x
x
A 5
5 7
5
7
5
7
x
x
0
5
0
5
0 5
O 7 5 0
O 2 0 5
5 7
5
7
5
7
x
x
0
5
0
5
0
5
0
5
x
x
x
x
x
x
x
x
B 5 5 5 x 5 5 5 5 5 x 5 5 5 5 x x x x
5 5 5 x 5 5 H H P P H P
5 5 5 x 5 5 5 5 x x x x
H H
x x
3 3 3

e }}} l }}} l l }}} l l }}} l

Ie V V V } } V k
Note 22
106 V V V V VV VV VVV VVV } } }} }} }} }}
VV VV VV VV }} }} V V VV V V V }} }} } } } }
Muted slaps (strings against frets)

2 0 x x x x
T 0 x x x x
2 0 0 0 0 x x x x
A 2 2 2 x x 2 3 3 3 x x x x x x
B 2 4 4 4 x x 4 5 5 5 x x x x x x
2 4 4 4 x x 4 P
4 P
4 5 5 5 x x x x x x
H sl. H H H H

e
Ie } } } } } } } } } k
l l l
3 3 3

} } } } }
Bongo
1
T
A Bridge thump x x x x
B x x x x x x x xs
w w w w w p s p p sx p
x
s
w

c
J Outro Note 23

e }}} 7
108
Ie V V V } } V V V V V
38
1 V 4V 4V }
8 VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV
VV VV VV VV }} }} V 1V 1V }
}
4
VV VV VV VV VV VV VV VV VV
V 1V 1V
1
1
slap strings
w/right hand p
2 0 x 0 0 0 0 0 0 0 0
T 0 x 0 0 0 0 0 0 0 0
2 0 x 0 0 0 0 0 0 0 0
A 2 2 2 x x 2 4 5 x 7 7 7 7 7 7 7 7
B 2 4 4 4 x x 2 4 x 5 5 5 5 5 5 5 5
2 4 4 4 x x 4 P
4 P
2 4 m x 5 5 5 5 5 5 5 5
Bridge H xH p
x x x i
thumps Strum with index finger....
x

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 16 of 19

e
111
Ie 78 VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV VVVV
VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV VV
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
H

e
114
Ie 78 VVVVV VVVVV VVVVV VVVVV VVVVV VVVVV VVVVV VVVV VVVV VVVV VVVV
VV VV VV VV
VVVV
VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV VVVV
VV VV VV VV
f VVVV
VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV VVVV
VV VV VV VV
V VVV VVV
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 11 11 11 11 11 11 11 11 11 11
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 9 9 9 9 9 9 9 9 9 9
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 9 9 9 9 9 9 9 9 9 9
H H

e
117
Ie 78 f VVVVV VVVVV VVVVV VVVVV VVVV VVVV VVVV
VV VV VV VVVVV VVVVV VVVVV VVVVV VVVV
VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV VVVV
VV VV VV VV
VVVV
VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV VVVV
VV VV VV VV
V VVV VVVV
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 11 11 11 11 11 11 11 11 11 11 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
B 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
H

e
Ie 78 j k Note 24
}}}}}}}}}}}}}} }}}}}}}}}}}}}}
Percussion Brushes

T
x x x x x x x x x x x x x x x x x x x x x x x x x x x x
A
B
w

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 17 of 19

Note 25
e
120
Ie 78 f VVVVV VVVVV VVVVV VVVVV VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV VVVV
VV VV VV VV
f VVVV
VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV
VV VV VV
VVVV VVVV VVVV VVVV
VV VV VV VV
VVV V
VV 3
VVV VVV VVVf1V
VV VV VV
1 VVV VVV VVV2V
VV VV VV
2 VVV VVV VVV V}}
VV VV VV VV
V VVV
1 3 3

let ring
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 3 3 3 x
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 4 4 4 4 4 4 4 4 4 x
A 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 0 0 0 0 0 0 0 0 0 0
B 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 0 0 0 0 0 0 0 0 0 0
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 H H H
H

e
Ie 78 } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }

T
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
A
B

half barre IX

e V VVV VVV VVV V VVV VVV VVV V V VV VV VV VV VVV V VVVV VVVV VVVV V VV VV V f VV VV VV VV V
Ie 78 VVVV V VVVV VVVV VVVV V VVV f V VVV VVV VVV V VVV VVV VVV VVV VVV VVVV VV VV VV VV
2 2

VV VV VV V}} VV VV VV V} VV
3 1 3 4 3 3 4

VV VV VV VV VV VV VV VV VV VV VV VV VV V
123 3
VV VV VV
3 4 3
1 3

V VVV VVV} V VVV V

1 1 3
2 1
2 1

}
2 2 2 1 1 1
1 1 1 1 1 1 1
1 1

let ring let ring let ring

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 7 7 7 7 8 8 8 0 0 2 2 2 2 3 3 3 0 0 0 0 0 0 0 0 0 0 0 10 10 10 0
7 9 9 9 9 9 9 9 9 9 0 0 0 0 0 0 0 0 0 0 0 0 11 11 11 11 12 12 12 0 0 0 0
A 0 0 0 0 0 0 0 0 0 x 2 2 2 2 2 2 2 2 2 x 9 9 9 9 9 9 9 11 11 11 0
B 0 0 0 0 0 0 0 0 0 x 2 2 2 2 2 2 2 2 2 x 9 9 9 9 9 9 9 9 9 0
H H H H H H
x 9 9 9 9 9 9 9 9 9
H H H

e
Ie 78 } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }

T
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
A
B

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 ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 18 of 19

partial barre II d
VV VV VV VV VVV VV VV VV
partial barre II

e
Ie 78 VVV V VVV VVV VVV f VV VVV VVV VVV VVV VVV VVV VVV VVV VVV f VVV VVV VVV VVV VV VV VV V V V VVV f V VVV VVV VVV V VVV VVV VVV VV VV VV VV VV
VV VV VV V}
1 3 3

VVVV
2 3 4 4

VV VV VV V VVV VV VV VV VV VV VV VV
126 1 3 4

VV VV VV VV VV VV VV VV
3 1 2 2 2
3 3

VVV}
1 4

VVV VVVV VVV

1 1 1 1
3 2

}
1 2
1
1

let ring let ring let ring

0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 4 4 4 4 5 5 5 0 0 0 0 0 0 0 2 2 2 0
T 0 0 0 0 2 2 2 2 3 3 3 0 0 2 2 2 2 3 3 3 3 5 5 5 0 2 2 2 2 3 3 3 0 2 2 2 0
2 4 4 4 0 2 2 2 2 4 4 4 0 0 2 2 2 2 2 2 2 4 4 4 0 0 0 0 0 0 0 0 0 0
A 0 0 0 0 2 2 2 2 4 4 4 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 x
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 x
H H H H H sl. H H H
x

e
Ie 78 }}}}}}}}}}}}}} }}}}}}}}}}}}}} }}}}}}}}}}}}}}

T
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
A
B

1. 2.
Half barre IX Half barre IX

e VVVVV VV VV V f VV VV VV VV V 2 V V VV VV VV V VV VV 4 fVV VV V V VV VV
Ie 78 VVVVV VVVV VVVV VVVV VVV VVV VVVV VV VV VV VV 4 VVV VV VV VV VVV VVV 4 VVVV VV VV VV VV VVV V VV VVV VVV VVV V VV VVV
4 2 2 4 2 2
3 3

VV VV VV V VV VV VV VV VV
129 3 3 4
3 3

V VVV VVV VV V VV V V VV V
1 3

V
1 1 1 1 1 1 3
1
1 1 1 1 1 1 1
1
1 1 1 1 1 1 1
1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 0 0 0 0 0 0 0 10 10 10 0 0 0 0 0 0 0 0 10 10 10 10
0 11 11 11 11 12 12 12 0 0 0 0 0 11 11 11 11 12 12 12 0 0 0 0 0 0 0 0 0 0 0
A 9 9 9 9 9 9 9 11 11 11 0 9 9 9 9 9 9 9 11 9 11 11 9 11 9 11 11 9 11 9 11
B 9 9 9 9 9 9 9 9 9 0 9 9 9 9 9 9 9 9 9 9 9 9 9 9
9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
H H H H H H H H

e
Ie 78 } } } } } } } } } } } } } } 24 } } } } } } } } 44 } } } } } } } } } } } } } } } }

T
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
A
B

e
132
Ie 78 } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } } }
...let last chord sustain and fade naturally...

T
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
A
B

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ORVILLE (THE SECRET OF LEARNING TO FLY IS FORGETTING...) - Jon Gomm Page 19 of 19

e
Fine

1
Ie } } } } } } } } } } } } } } }

T
x x x x x x x x x x x x x x x
A
B

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 Jon Gomm - Orville Performance Notes​ 1

The Secret Of Learning To Fly Is Forgetting To Hit The

Ground (aka “Orville”) ​by Jon Gomm - Performance Notes
GUITAR PERFORMANCE NOTES:

Referring closely to the official video at youtube.com/jongomm will help you learn this song.

ALL PERCUSSION SHOULD BE PLAYED SOFTLY. This will improve your tone, give a better balance
between percussion and guitar, and protect your instrument.

TUNING:

For this song, Wilma was tuned to ​A#​1​ ​F2​​ ​C3​​ ​F3​​ A​3​ C​4​ (low to high). This tuning is very low and works best
with heavy gauge strings. I use my signature 14-68 gauge strings made by Newtone in Derbyshire, England,
and you can order them online. If you're using more normal strings, you could try tuning up a wholestep,
which would give you ​C G D G B D​.

TRANSCRIPTION PERFORMANCE NOTES:

While working through the transcription, please keep an eye out for fingerings in the musical notation.

Right hand fingering is below the tab. ​p ​is the thumb, i​ ​ is the index finger, ​m ​is middle finger, ​a ​is the ring
finger and ​c ​is the little finger. In some cases you’ll see ​s ​which means slap, and ​w​ for wrist (relating to
percussive hits).

Tab notes in brackets, e.g. (5), are often tied notes (they're just sustaining from a previous note: check the
notation) and can therefore be ignored.

Note 1 – ​The music is split into two staves here: Left Hand and Right Hand. The left hand is doing all the hard
work, hammering on the syncopated riff. The left hand is “inverted”, i.e. upside down, above the neck. The
power chord on the bottom two strings is barred, but none of the notes sustain into each other, so you don’t
need to hold that barre while playing the other notes.

The right hand is just marking time with percussive hits on the beat, using our first drum sound:

X on the 2nd string line - Snare 1 - ​Slap the side of the guitar, on the underside (near the corner of the
cutaway), for a high, sharp sound. Note, this can be tricky if you are playing seated, and you may need to
angle the guitar away from your body slightly if it’s resting on your leg. I perform the slap with either just my
middle finger ​m​, for a quieter hit, or with fingers ​m, a ​and ​c​ all together for a louder hit.

Note 2 - ​The percussion intensity increases here, adding a new sound:

X on the 4th string - Bongo 1 - ​A hit on the soundboard, using a fingertip or the side of the right hand thumb.
In this case, I’m hitting the wood below the 20th fret (approx), using the side of the thumb.

You’ll need to break this section down to see exactly where every percussive hit fits, either coinciding with a
left-hand note, or slotting in between them.
 Jon Gomm - Orville Performance Notes​ 2

Note 3 - ​The left hand now gets involved with the percussion, with two new hits:

X on the 3rd string - Bongo 2 - ​Tap the soundboard, somewhere above the 19th fret (approx), with the tip of
the left hand middle finger. I keep the finger flat, so it’s actually the bony part of the last joint that hits the
wood.

X on the 1st string - Snare 2 - ​Slap the side of the guitar on the upper “shoulder” of the guitar, above the point
where the neck meets the body. The slap is performed with the palm of the left hand. The sound of one hand
clapping!

Note 4 - ​The melody is finally introduced here, but first there’s a new percussive sound:

X on the 5th string - Neck Hit - ​Hit the upper side of the neck with the right hand thumb. This hit actually
performs a dual purpose: As well as producing an extra drum sound, it also plants the thumb in place ready to
tap out the melody notes. (I always have the thumb anchoring on the side of the neck when playing right-hand
hammer-ons.)

To play the melody, hammer on the first note with the 1st finger, slide to the next note, then hold that in place
while plucking the open 1st string with the ring finger ​a, ​then finally pull-off the 1st finger to sound the open
2nd string. The last two notes are another hammer-on followed by a pluck. (Note, there’s no need to hold the
hammer-on down this time).

Note 5 - ​Orville’s verse melody takes the form of “question and answer”. The answer in this case is these
Touch Harmonics​. Play them by touching the string at the fret shown lightly with the outstretched tip of the
index finger, then plucking the same string with the thumbnail.

Note 6 - ​The last moment of the verse section is this cool hammer-on/pull-off-harmonic move. After the touch
harmonics, hammer-on the 16th fret note with the right hand 1st finger, and hold it down. Then get the left
hand 2nd finger in position: It’s holding a barre, from above the neck, just covering the bottom three strings at
the 12th fret, but it’s only touching the strings lightly, not pressing them down. Now pull off the right hand
finger holding down the 16th fret note, put it’s an exaggerated pull-off upwards, so not only does the pull-off
sound the 4th string, but it also strums the 5th and 6th strings at the same time, producing that harmonic chord.

Don’t worry, it’s easier to do than to explain! :)

Note 7 - ​Heading into the chorus we start strumming: I use the flamenco technique: Downstrokes (represented
by the square with the bottom edge missing) are played by flicking the strings with the backs of the
fingernails. Upstrokes (represented by a V shape) are flicked upwards with the back of the thumbnail.

Note 8 - ​I decided to reduce the Tab down to one stave for the chorus. Three more percussive effects here:

Bridge thump - ​This is where we hit the actual bridge of the guitar for a deep-sub bass thud. In this case, as
you play the downstroke, drop your wrist onto the bridge.

Rim strum - ​As you flick your middle finger down across the strings for the downstroke, follow through and
contact the rim of the soundhole, for an extra percussive sound. In this case, the left hand is resting on the
strings so the strum is muted, so we get two percussive sounds at once, one metallic, one wooden. Lovely.
 Jon Gomm - Orville Performance Notes​ 3

Thumb slap - ​Slap the side of your right thumb against the 6th string for a percussive slap. If you just leave it
there, you’re in great position to play the next bass note too (the open 5th string).

Note 9 - ​Some tapping here: The circled notes are right hand hammer-ons. The last two notes of bar 23 are
tough: preparing the left hand on that chord shape ready for the final pull-off happens at speed. Ideally you
should still be holding the bassnotes (the half-barre at the 5th fret). The last chord of bar 24 is a slapped
harmonic, played with the right hand. In bar 25, the right hand has to jump over the left hand to tap the 2nd
fret notes, so your hand are briefly crossed over. A tricky maneuver, so wear loose clothing!

Note 10 - ​Back to two staves here, as there’s some complex percussion coming up. So the ​Bridge Thumps ​are
now notated on the lower stave as an ​x ​on the 6th string.

The percussive lick at the end of bar 28 is as follows: Firstly, mute all the strings by resting your left hand 1st
finger lightly on the strings (near the 3rd fret is fine). The first hit is ​Bongo 1​, a thumb hit against the sound
board just above the strings near the soundhole. Then play a ​Bridge Thump​ but played with a slap of the flat of
the fingers against the bridge. Next is a ​Muted Slap​ with the left hand - Leave your 1st finger resting in place
and just slap the remaining 3 fingers against the strings. Then repeat those three hits. Now we have ​Snare 3​ - a
new sound for this song. Flick ( ​f ​) the soundboard just below the strings near the bridge, using the back of
your middle fingernail. This is a loud, hard hit so BE GENTLE on your instrument. Then left hand slap, then
bongo, and one more left hand slap.

2nd Verse/Chorus - ​This is virtually identical to the 1st Verse and Chorus, but I’ve had to write it all out again
in order to include three slight variations at Bars 39, 43 and 48. Let’s take a look at them:

Note 11 - ​A percussive lick here, starting on beat 3 of the bar. The tricky bit is the double bongo in the left
hand, also known as a “flam” (two hits in quick succession). I use the middle finger then index, but some
people prefer to reverse that - do whatever feels natural. The full sequence of the lick is: Right Snare, Right
Bongo, Left Bongo, Right Snare, Right Bongo, Left Double-Bongo, Right Snare.

Note 12 - ​Here we have a new percussive effect: a ​Bongo Roll​. (Shown by the usual ​x​ on the 4th string with
the addition of a vibrato marking above.) The bongos are in the same place (roughly below the 20th fret), but
we roll our fingers one at a time in quick succession. I use flicks, unfurling my fingers one at a time starting
with my little finger, similar to the flamenco strumming technique the ​rasgueado​. It’s immediately followed
by a ​Snare​ slap.

Note 13​ - Nothing new technique-wise to mention here, but do notice that the rhythm for the second half of
bars 48 and 49 changes from semiquavers to triplets, which makes the music sound almost like it’s slowed
down momentarily. Guitarists can warp time.

Note 14​ - Bongo roll, bongos and snares here, but I switch up and play them on the upper bout of the guitar. It
just gives slightly different tones, but you could just use the usual ​Bongo 1 ​and ​Snare 1​ techniques on the
lower bout. If you want to switch, then the bongo is now played with the fingertips, on the soundboard above
the 19th fret (approx.), and the snare is played on the side at the upper shoulder, with the thumb (so it sounds
less of a snare, more of a woodblock).

Note 15 ​- The solo. Be afraid. It starts out easy enough, but it’s gonna get crazy soon. The left hand starts with
a syncopated groove, played just with a little barre of the 1st finger to get those simple power chords, and then
 Jon Gomm - Orville Performance Notes​ 4

the remaining three fingers slapping the strings shown, at around the 3rd to 2nd frets, for the percussive hit.
The right hand just marks time with ​Bongo 1 ​(I’m using the upper bout bongo, as at ​Note 14​)​.

Note 16​ - Some scratches here: I use my right thumbnail to scratch the wood, roughly in the same place that
my fingertips are tapping out the simple ​Bongo 1​ rhythms. THIS WILL DAMAGE YOUR GUITAR’S
FINISH. To avoid this you can use a scratch pad (check out my friend Thomas Leeb’s guitar to see what that
looks like) or use some masking tape to protect your finish, which is rough enough to give an OK scratching
effect. Or just scratch it! I’ve been doing it to Wilma for nearly 20 years and she’s still going strong.

Note 17 ​- The solo proper starts here. This section is ninja level. It's played using ​eight-finger tapping​, a
technique whereby both hands are playing separate parts on the neck, truly piano style. Check out the playing
of Stanley Jordan to see a master do it (and on an appropriate instrument with light strings and a low action,
not a jumbo acoustic with huge strings!)

You'll need to work on the right hand part separately. If you've never tried anything like this before, it's worth
practising a scale, or just a fragment of a scale, with right hand tapping. It's important to try to make your right
hand technique and position as similar to the left hand as possible. Use your thumb as a guide to your position,
and as an anchor to give your hammer-ons some strength, by resting it on top of the neck.

There are fast scale runs, challenging slides and even a fast arpeggio lick in a 3-against-four cross rhythm (at
Bar 70). It’s tricky on its own, but then adding in the left hand bass groove, which is heavily syncopated, will
take painstaking work, at a dead slow pace to begin with.

There’s a fair amount of slides, because these really add colour, and make it more “guitaristic”. The danger
with tapping is that you lose all the potential colouration of notes that the guitar offers, and end up sounding
like a bad synth guitar sound.

If you have long fingernails on the right hand, all this will be impossible, as far as I can imagine. All I can say
is: Cut them off! I have never had nails on my right hand, and nor did most steel-string guitarists until Michael
Hedges came along. Not having nails means I have a much warmer tone but less sparkle. But to my mind,
even if you like that very sharp nail-on-steel tone, that’s a small compromise when you consider the whole
world of tapping possibilities opened up by cutting those claws!

Note 18​ - Some tapped harmonics here: Just like a slapped harmonics, but instead using a barred finger to
bounce several strings off the fret, you use the tip of a finger to bounce one string off the fret. It requires a
good deal more accuracy.

Note 19 ​ - These ​neck hits​ are performed while the last note (4th fret, 1st finger) is still be sustained. So, rather
than using the thumb for the ​neck hits​, I play them by hitting the lower side of the neck with my remaining
fingers (2nd, 3rd and 4th fingers). I find it easier, as it avoids removing the thumb anchor point.

Note 20 ​- With the 2nd intro, the entire point is to build from quiet to loud, to reintroduce the theme. So I start
out just marking time, then bring in the more complex right hand drums (but NOT the left hand drums that
sneak into the original intro), then add the left hand drums near the end of the section, finally peaking in
volume with a very loud right hand snare.

Note 21 ​- Play with maximum power and energy here!

 Jon Gomm - Orville Performance Notes​ 5

Note 22​ - We have a similar complex percussive lick as played at ​Note 10 ​above, but this time it’s… even
faster! I’m doing the time warping thing again but this time switching up a gear from semiquavers to
semiquaver-triplets.

I play the “bongo, thump, slap” (right, right, left) grouping pattern once at normal tempo, then three times at
the new triplet-enhanced speed. (Although the gear change actually happens on the second beat of the second
grouping, as that’s the hit that falls on a downbeat). Notice that the bridge thumps switch from being played
with the wrist, to being hit with the flat of the fingers. As long as you hit the bridge and/or saddle somewhere
you’ll get that nice deep thud.

Note 23​ - The Outro switches to 7/8 time. (It looks strange that it’s preceded by a bar of 3/8, but that simply
because the first beat of the 7/8 groove is the chord which ends the chorus, which lands exactly where it
landed at the end of the chorus every other time. So basically, it looks odd but it feels and sounds cool.)

The 7/8 groove is split into 4 quavers, then 3. So you could count “​one and two and one two three​”. The
strumming is done softly with the index finger. I keep the finger really floppy. And occasionally I hammer on
the 1st finger to emphasise the first beat of a bar.

Note 24​ - Here I add some percussion to the strumming, in the form of ​Brushes​. I’m trying to simulate a brush
on a snare drum, or even a shaker: Any soft, sustained, high-pitched percussion sound. I rub my wrist on the
soundboard, just above the strings, as I strum up and down. Wilma is roughed up which helps, but any guitar
with a matte finish should produce a sound. If not, you can stick some paper masking tape to the guitar.

Note 25​ - The following section introduces a melodic element to the chords: Just make sure to follow the
fingering (in the musical notation) and hold the chord as you add each new melody note. And let the very last
chord ring and then just fade naturally, as you finish the piece with the brushes. Nothing like ending with a
whisper.

OK now this tune is VERY VERY difficult but hopefully all this guidance should give you a fighting
chance. But if you have any questions, please tweet them at me ​@jongomm​, or post them on my wall at
facebook.com/jongommofficial​, or email i​ nfo@jongomm.com​ with the subject "Tab question for Jon".
Have fun and don't hurt yourself, or your guitar. :)