the

/2atln Son~6ook
Volume 3
Wtzltte11 and co111pLled blf ;paul /11eadetz &. Ro6L11 /\lola11

Rt.Jez pu6lL£kLntj, A111£te'ldtl111, Clhe Nethe'lland.£

Rf.JCZB 3 - 2001
Cop11zL7h.t © fill zl7h.ts 'lesezved.
!J11tezna.tiona.l CopL[Zl<jht Secutzed. fill CopL['lL<jhts Z{sed 611 1Jez111lssio11.
 Clhe

CJvpsv '}azz
.Catln Sontj6ook
Volume 3

Clhe collection ofi LJ1fp~nt J-a.zz /!,a.tin Sta.nda.'lds 1

//IJ'litten ,and compiled 611 -:Paul /l1ea.de'l and 7'o6in ,Nolan.

~O'l//IJtl.'ld · · .. · · · · · · · · · ••••••••· · ••••· ••••· ••••••••••••••••••••••••••••· •••••••••••••4

Clhe LJ1f'PS1f Bole'lo .......................................................... 6
q'lou6la.nt Bole'lo .............................................................. 8
Bole'lo Blue ................................................................... .1O
Ca.'la.va.n ....... ................................................................. .12
Ba.1l 'Del -;pi ...................................................................14
/l1a.nha. 'De Ca.1lna.va.l .................................................... .16
("[,he LJ1f'PS1f Cla.n'}o .... ...................................................... .18
2-'lste'l Cla.n'}o ...................................... .................... ....... 20
/!, una. Cla.n'}o ................................................................. 22
("[,he LJlf'PSlf Boss a. .......................................................... . 24
Bossa. 'Do'la.do ................................................................ 26
;\1 um6e'l 1 .......................................................................28
Y.o'l S ephota. .................................................................. 30
("[,he LJlf'PSlf Sa.m6a. ......................................................... 32
/l1editetta.nea.n Blues .................................................. · .. 34
S ummetztime .................................................................. 36
'Disco'}ta.phlf· ................................................................... 38
Book 4 ......................................................................... .40

Co11ceptio11, 'Z°)esl?11, J!,tu1out, 'l)q;p - ;paul /11eadez

Cavez and inside i.llusttztltlons Cazol1111 "Ridsdale
"Rf.JCl -:Pu6li.shl11?, Amstezdam, Clhe /'Jeth.ezlands
"R/'JClE3
Cop1ftzLt;ht © fill 'll<jhts tzesetzved.

!J11terznational Cop1f'Zl<jht Secutzed. fill Cop1f'll<jhts 0{sed 611 petz111lssio11.

So, 1'\le meet a51aln. Somethin57 cl.i#eunt thig tlme. We t!'le iocugin57 ou'Z iuU attention on the 5711Pg11 jaz.z.
"J!,aun" upe'Ztoi'Ze and the vt!'Zioug ieefo that 570 1'llith Lt.

Book 3 hag 6een divided up into iou'Z 'Zh11thmic cate57o'Zleg.

1} the CJ11Pg11 Bole'Zo, 2} the CJ11Pg11 Clan570, 3} the CJ11Pg11 Bogga, 4} the CJ11Pg11 Sam6a.

7.)jan570 1'\lag pt!'ZtLcult!'Zl11 iond oi the Bole'Zo. Clhig 5711Pg11 'Zh11thm io'Zm de'Zlved ff'Zom hig Spanigh couging ln-
;4nde'Zlucia, via the compoge'l 'Ravel, 1'\lag a 57uat gou'Zce oi lngpi'Zation to him. d{ig gon57 "Cl,'Zou6elant Bole'Zo"
lg gtllf ve'Z11 much a pa'Zt oi the 5711Pg11 jaz.z. gtanda'Zdg upe'Ztoi'Ze oi toda11.

One oi the mogt popula'Z 'Zh11thmg io'Z 6oth audienceg and musiciang gpeci#c to thig pa'Ztlcula'Z 57ulta'Z gt11le hag
6een the development oi the CJ11Pg11 Bogga. Since the ea'll11 199o'g gon57g like 7.)o'lt!do Schmitt 1g "Bogga-
7.)0'Zado," Stochelo 'Rogen6e'Z57'g ""f/-o'Z SephO'Za" and 'Ro6in /\Jolan'g "/\Jum6e'Z One" have made a gi57niilcant
impact on the 57en'Ze. Clhtzou57h the 57lo6al iniluence oi 6andg like the Stochelo 'R_ogen6e'Z57 Cl'Zio and the 'R/\JCl,_
latin tuneg a'le noN ve'Z11 much a pa'Zt oi the 5711Pg11 jaz.z. gon57 6ook. Clhig hag 6een a gi57niilcant development.
St'Zt!n57el11 enou57h up until thig point in time the QJ-lC"f/- gNin57 and mugette NaLtz. 'lh11thmg Ne'Ze the onl11
'Zh11thmg pla11ed 1'llith the exception oi 7.)jan57o'g 6ole'Zo.

Once a51aln, ag 1'llith the g11.1ln57 ieel, the iundamental voice Nithin the muglc 6elon57g to the rzh11thm 57ultt!'Z. !J ge'Zi--
ougl11 advLge all gofoLgtg to take the time out to 11.1o'Zk on thege latln 'Zh11thm technlqueg. /\Jot onl11 doeg Lt 57ive 11ou
a 6ette'Z unde'Zgtandin57 oi the muglc, 11ou come a11.1a11 11.1ith a p'Zoiound 'Zegpect io'Z a 57ood 'Zh11thm 57ultt!'Zlgt. Believe
me, the11 .a'Ze No'Zth thei'Z 11.1el57ht ln 57old and ext'Zemel11 ha'Zd to come 611. !Jn no othe'Z jaz.z ldlom do 11ou iLnd the mMt
impo'Ztant mem6e'l oi the 'Zh11thm gectlon in guch gho'Zt guppl11. 2..ve'Z116od11, Lt geems, 11.1ants to 6e a lead 57ultt!'Zigt !

l,fou Nill iind these ieefo ve'Z11 chaUen57Ln57 and p'Zo6a6l11 quite dl#lcult. Cl.he 57ood thi.n57 a6out all the ha'Zd NO'Zk
11ou noN have to do to 57et them soundin57 tL57ht ls that the11 NiU eh'Zich 11ou'Z upe'Ztol'Ze lmmensel11. As a t'Zlo the_
'R/\JCl have 6een pla11Ln57 these 5711Pg11 latln iee[g io'Z 11et!'Zg and the11 neve'Z seem to foge thei'Z a6Lllt11 to gtimulate
the musicians and in man11 11.1a11g c'lossove'Z to a 6'Zoade'Z audience. Clhe11 can 6e ve'Z11 poNe'Ziul vehicles io'Z jam-
mln57 and mogt lmpo'Ztantl11 like the classic 7.)jan570 tunes, a'Ze N'Zi.tten 611 57ulta'Zigtg io'Z 57ultt!'Zlgts.
1

We have chMen a Vt!'Zled gefection oi compogltlons ff'Zom the catalo57ueg oi 7.)jan570 'Relnht!'Zdt, 7.)o'Zt!do Schmitt, -
Stochelo 'R_ogen6e'l57, Birzeli /!,a57'Zene and 'Ro6in /\Jolan. !Jt'g 11.1aU to NaU 57uLta'Z. Y,ou can't do 6ette'Z than that.
-When MJD'lklnfj MJith a neMJ th11thm 6efjln 611 llstenln? to the audio examples MJhile at the same time checklnfj out
the MJ'litten dlafj'lam. Clhen MJhen 11ou undetstand the connection 6etMJeen the tMJo, take one 6M. at a time at a ve'ltf
sloMJ tempo. Concenttate on ?ettln? the f;eel of; the th11thm unde'l 11ou'l hands 6ef;O'le ptofj'lesslnfj to the audio exam-
ples ?ilJen on the <!,'?:). jt is of; the utmost lmpO'ltance that 11ou tap 11ou'l f;oot MJhen 6efjinnLhfj the neMJ {;eel. Y,ou
must MJD'lk at locklnfj into a pulse no matte'l MJhat tempo it ls, and 6elLeve Lt O'l not, fjettin? 11ou'l f;oot in time MJith
-11ou'l pla11Ln? ls the onl11 MJalf to do it. j am still stunned 611 the amount of; musicians j heat, some at quiet hlfjh
levels of; technique, that seemed to have missed the MJhole ptlmotdial point. /lllusLc is a6out th11thm. jf; 11ou pla11
_music out of; time it stops 6eLnfj music and 6ecomes noise. ClhLnk a6out it.

- Clhe count- in is of; c'litlcal impottance MJhen pla11infj music to?ethet. jt should 6e cleat, concise and most of; alt
consistent. jf; the othe'l me.m6ets of; the 6and ate not in s11nc MJith the count it MJiLl make {Jot a ve'llf mess11 6e?in-
- nin? that is hatd to tzecove'l {Jtom. 'lake 11ou'l time, speak clea'lllf and uspect the son? 11ou Me a6out to pla11 611
~ettln? it 'llfjht {;tom the MJD'ld ?o·

Ee{JO'le 11ou 6e?in the count-in to a son? it ls lmpottant to mentall11 tun thtou?h the tempo 6ef;ou the count. Clhe
most univetsal count-in sequence ls to 6e?in the count tMJo 6ats 6ef;ou the son? 6e?ins.

BEATS 2 3 4 2 3 4

FOOT TAP 2 3 4 2 3 4

-METRONOME 2 3 4 2 3 4

_COUNT 2 2 3 4

-:PtactLce this co~nt in sequence MJith a /112-ClRO/'J0/112 6e?innin? at 92, 112, 132, 168 and 200 6.p.m.

~tactlce
jn the MJotds of; a ?teat old 2oth centu'llf ma?iclan,
" -:Ptactice somethin? 100 times and 11ou lea'ln to do it - -:Ptactlce somethln? 1000 times and it does itself"

Clhe most f;tzusttatln? thin? a6out leatnin? a musical lnsttzument Ls the unavoida6le ff act that 11ou have to p'ltlc-
tlce in otde'l to ?et an11MJheu. Y,ou can intellectualize the concept of; lea'lnln? until the coMJs come home 6ut that
- still MJon't make 11ou pla11an116ette'l. Clhe ctuel t'luth ls that pMctlce makes petf;ect. jt's all a6out hoMJ man11 hou'ls
a da11 11ou'l hands ate on the lnsttument. jn the tush {Jot c'leativitlf 11ou can't just leave that 6it out. ClhLs of;
- coutse is MJhat makes an a'ltist. /lllost fj'leat pla11ets have spent la'lfje petzlods of; thei'l lives in solita'llf conf;inement
pMctlcin? all da11 eve'llf da11 ovettlme included. !lt ls totall11 anti-social 6ehavio'l and that's MJhat makes it so dif;-
1 1

1
f;Lcult. Clhe'le au no sec'letg, no hidden clues, 1fOU 'le on 1fDU'l oMJn, just lfDU, the Lngt'lument and f;ou'l MJalfo.

What Ro6ln and !J have t'lied to do MJlth ou'l 6ooks ls make that pMctlce time as ptzoductive as possi6le and noMJhete
- netl'l as lonel11. Clhen MJhen 11ou have done all the hatzd MJD'lk, 11ou can f)O out and kick some ;Jlff'Slf jazz 6utt ! !

_ -:Paul /llleade'l - /llla11 2000

 Clhe Boletto
!Jn the la.te 193o's 'Dja.n'}o 'Relnha.tzdt, inspitzed 61( the Spanish compos~tz 'Ra.vet, expetzlmented hJlth the Eoletzo. Y,tzom
thls petziod ea.me a. composition entitled "Cltzou6la.nt Eoletzo." Clhis 6ea.utifiul son'} 6eca.me a. 'i'f PS'f ja.:z::z: "sta.nda.tzd" ha.tJ-
lntj the unique ptzitJiletje ofi 6ein'} the onll( 'Dja.n'}o composition in the tzepetztoltze to 6e 6a.sed on a. "/!,a.tin" tl(pe fieel.

([he 7Soletzo Ls a 'lh1fthm plaved at a medium to slo11J tempo. ([he sttzummlntj hand ha.s to leatzn the technique ot ·
plavLntJ a t'liplet tLtJU'le on the 2nd halt ot the tLtzst 6eat ot eve'llf 6tl'l. !lt is a ttzickv thin'} to leatzn and thetze atze
a couple at sl1f Naifs a.tzound it, 6ut 11Je atze not a6out to teach vou an1f 6ad ha6its. !Jt vou '}et this one doNn it .
Nill open up a Nhole ne11J 11Jotzld ot son'}s and expand voutz tzepetztoitzes dvnamic vatzlation. )Jou'U nevetz look 6ack.

St1lummln~ d-la.nd Clechnlque ~o'l the Bole'lo

BEATS & 2 & 3 & 4 &

TAP
FOOT I I I I
STRUM I Ill I I I I I I
down down up down down down down down
up
down

LENGTH long short long short long short long short

ACCENT I I
Cho'ld d-la.nd Clechnlque
!Jt is the chotzd hand that ls tzesponsL6le t;tz the lentjth otz dutzatlon at the cho'ld. 7Sv rippl1fln'} and then tzeleasintJ
the tension at the chotzd shape {the on a.nd o# at voutz tLn'}etzs} vou can M'llf the lentjth ot the sound. ([his Nill
6ecome automatic as voutz technique develops.

!Jt vou atze havin'} t'lou6le nallin'} a patztlcultl'l tzhvthm technique then the tL~st step Ls to slo11J Lt tzitjht do11Jn. !Jt .
vou atze lea'lnin'} a cho'ld sequence then 6etjln 61f pla1fLntJ the tLtzst 6atz ot the sequence ovetz and ovetz atjaln. Set
vou'l mettzonome at a slo11J tzelaxed tempo, tap voutz toot to the 6eat and st'lum in svnc 11Jith the tzhvthm. When
this teels comtotzta6le t'llf pla1fin'} the tL'lst t11Jo 6a'ls at the son'} No'lkin'} th'low;h the chotzd p'lo'}tzesslon step 611 step ·
until 11ou have the chan'}es soundin'} smooth and even. 'ZJon't inctzease 11ou'l tempo until vou can plalf the Nhole
p'lo'}tzesslon evenl11 11Jithout losin'} a 6eat. !Jt is impo'ltant to have the cho'ld hand makin'} the chan'}es titzst Nith- .
1

out an11 t'lLctlon o'l loss at time 6etotze lfOU .t'llf '}ettlntj the 'lh1fthm hand do11Jn. p'la.ctlce tjolntj 6et11Jeen di#icult
shapes 11Jith the chotzd hand ti'lst and then add the 'lhlfthm hand to 6'lintJ in the sound.

6.
'lhls son'} hJas anwn'}st the ffl'lst ten tunes ffeatu'led in Book One Off ou'l "CJ11ps11 '}a;;,z." se'lies. !Jn Book One
the son'} is p7esented ln its D'li'}inal shJln'} ffeel and on this (!,?) 11.'e have added the son'} as a Bole'lo. 'lhls is
an example Off 67in'}in'} nehJ li5e to a tune 611 chm:t'}in'} it's 'lh11thmic chatzacte'listics. 'lhe 'R/'J'l have tzecMded
this son'} as a Bole'lo on the 'R/'J'l6 "Ballads" C'D. ;Anoth~'l example Off this is the 67illlant ve'lsion o5
"/'Jua'}es" that lSL'leli lnt'loduced to the '}eh'le in the mid '9o's.

'lhe "pla11 out" ls a ja;;,;;, te'lm· used to desc'li6e hJhat '}au musicians Offten do to extend the end Off a son'}· 'lhis
can open up a hJhole nehJ doo'l hJhen pla11in'} the tune, allohJln'} the 6and to sttzetch out and have a lot Off ctzeative
ffUn. !Jt can take seve'lal ffO'lms depend.in'} on the tonalitlf and the st'luctutze Off the chan'}es. !Jn "'Djan'}o's
Castle" hJe have a'ltzan'}ed a plalf out usin'} the ffi'lst 2 6a7s Off the son'}· 'lhe pla11 out can last indeffinitel11
depend.in'} on the musical ima'}ination Off the soloist, the d11namic tzesponse Off the 'lhlfthm section and in a live
situation, the audience and hJhethe'l o'l not the'le is an11 ma'}LC in the 'loom that ni'}ht.

When listenin'} to 'Ro6Ln's solo du'llh'} the pla11 out 11ou can hea'l the development Off thtzee classic '}a;;,;;, p7lnci-
ples in motion. 'lhese musical ideas atze pa7t Off the ffUndamental ff'lamehJo'lk that makes up the lan'}ua'}e Off
'}a;;.;;., the11 atze pa'lt Off it's voca6ula'llf and 'Ro6in's unde'lstandln'} Off these p7Lnclples atze pa'lt Off hJhat makes his
pla11Ln'} so exptzessive. !Jt keeps the "'}au" in the music "tzeaL"

"'!/-ltzstll[ 11ou heatz the Blues. !Jt's a univetzsal thin'}, a lahJ oi 11atu'le it alhJtllfS t'll'}'je'ls a tzesponse. BI[ 'Ro6L11's
1

explotzation oi even the most simple Off phtzases a sto'llf 6e'}Lns. As a lLstenetz 11ou atze immed.Latel11 hooked. !Jt's as
fftlmlliatz as "Once upon a time" and 11ou hJant to hea7 motze.

Secondllf 'Ro6Ln tzeietzs to the melodlf· 'lhe 'leffined a'lt Off simple melodic em6ellishment usln'j the ffi'lst tf\Jo notes
Off the son'} and Ute'lalllf plalfi11'} atzound hJith them. A'}aln this use Off the lan'}ua'}e is classic "ja;;.;;.." !Jt has a
ditzect emotional etffect 6ecause 611 this sta'}e Off the son'} the listenetz Ls altzead.11 ffamilia'l hJith the melodlf·

'lhltzdllf, 611 hJhich time 'Ro6in has 11ou'l ffUll attention, he 6tzeaks ahJalf, plalfl11'} some 5astetz lines 6effo'le tzetutzn-
in'} to a simple 6lues phtzase to 'JO out on. As a listenetz 11ou have come 6ack home. 'lhe sto'llf Ls complete.

!Jt is this sttzetchLn'} oilt, this takLn'j Off chances, this metaphotzic "jumpin'} otff a clitff" that keeps the music alive,
and the "pla11out" alhJalfs sewes this putzpose Nell 611 settln'} up the 'lL'}ht kind Off musical envl'lonment ffO'l solo
and '}'loup imptzovlsation to happen.
 <7tzou6la.nt Boletzo
Intro
(1'74EAJ
Rhythm guitar plays single notes and solo guitar plays chords, see bottom page 9 11 & 2.
22 2 2 1 2

"'..
0
.. . /. ,/ ·/
/,
"\./'- /"\./' / "\./ "\./ /, /,
('-t' '-("• "- (""\. I ....
A I l I I I I
.""\./Id LJ I
Let ring\..____ _ __
13. g 10 g 8 g

[6J
d-lead
12 910 12 810 12
I z iurrrrll
8101210 g

g 1010 g g 1010 g 11. 8 10 8 7 g 10 g 8 g

[BJ 1210 8 81\

788778 8 7 810 8 7 7
g 10 g 8 9

Coda
-$- 0 2 1 2 0 2 1 2 0 2 1 2 0 2 1 2

Let nng
o sss s 5 s o s sss 5 s o s s 6 6 5 s E6

Let nng"" ~ ~'-------

8. Copyright © by EMI MUSIC PUBLISHING, FRANCE

Used by permission of : EMI MUSIC PUBLISHING, (HOLLAND) B.V.
 {A ABA} The intro is played by the rhythm guitar with single notes as illustrated on page 8.

[8]( Emaj9 I I I J Emaj9 J E-7 J A7 I

]
1
I 06/9 I C9 1 .89 C9 I 89 87+
2 &3.

11 Emaj9 I Emaj9 E7 II
[8Jjl A-7 l 07 G6/9 I G#dim I
I A-7 I 01 89 C9 I 89 87+ II

[6]1] Emaj9 I Emaj9 E-7 I A7 I

I 06/9 C9 Emaj9 I Emaj9 ]
Outroll Emaj9 A7 Emaj9 I A7 I
I
(These last 3 bars are I played with single notes ~s in the intro on page 8) I E6 I
x Emaj9 x x E-7 x x 06/9
1

x x E7 x x x A-7 x x

3 4 5f (2) (3) (4)

x x x G6/9 x

E7#9 x Ai3b9
The E7 #9 and the A 13b9
are played by the sqlo
guitar over the intro on 7f 3
page 8. Use audio as 1--4"--+-~-::±:-~
reference.
 Boletzo Blue

7745474

IAI
5
d-lead
Guitar tablature
7745474 7 5 7
II 2arrrr II
8745474

11 & 3.
5 7 6 7 4 7 5 4 7 7745474
- v ' / ' ,,
"'/' / .
"'
A
.....,, ......
I
'/ '/'\. /
V ' / / ' ' / I'' A
I '.rr'-r'- ('I I v
A
I
I v
'\./("
' '•
I I
'• '
I
.
r 'I I I I I ('I
L-..1._..1
I I I
L.J__J
Take coda
12. 7 6 7 4 7 8 6 -$-on he5d out.

w
II
w

52 352 2 42

w w

I )L~) JJI ITT r r I e=r ErTr 1rrrrr I

5 5 8 7 5 6 6 7 4 5 7 5 5 5 7 5 4 7

5 57547 6 .

Copyright © by RNT Publishing, Amsterdam, Holland

Used by permission of : Robin Nolan Trio, Amsterdam
 <!,'!:)1 - Cltzack 4· Boletzo Blue -:Paul /ll(eadetz
(AABAJ
Intro II A-7 I I I I A-7 I A-7 I A-7 7 ---- I
~( A-7 I A-7 I Fmaj7 I Fmaj7 I
I 0-7 I E7 I A-7 I A-7 7 ---- :]
[B]jj Fmaj7 I Fmaj7 I E-7 I E-7 I
I 0-7 I o-7 ·e®J9~·
1_<,',-- ___ ,__ ::~;i,_;:~; /_'.~---~ · I C6/9 I
I 8-7b5 I Er I A-7 I A-7 I
I F#-7b5 I B7 I 8-7b5 I E7 7 ---- ]
Outroll A-7 I 07 I A-7 I 07 I
/.\ /.\

I A-7 I 07 I A-7 I 07 A-9 I

x x x D-7 x x E7 x- x
2 1

x E-7 x x B-7bs
i

7f 2 2

x 07 x x A-9

(i) (2)(3)
5f (2) . (3)

Copyright© by RNT Publishing, Amsterdam, Holland

Used by permission of : Robin Nolan Trio, Amsterdam 11.
 e 'D1 - C:-Ctztick 5.

(lh4BAJ

Guitar tablature

[6J J-lead
5 6553555 3 5656535

-$- Take coda

3 5 4 3 2 1 0 2 3
."
on head out

A ~ ' / ' r'-/ ' / ' / ' /

v I t''-A ' ( ' ('-. ( ' '-./ /'- -
I I I I I I (' v
I I I I I I
l__L_

[BJ 6 3 5 5 3 5 5 3 3

II r
4
r r I w r I r r( r I
i 3 3 1 3 i 5
,
0
0
A
v
'-/
(
I
' v
A• v
A• '/
("'-
A
v
""".
' IV
'-./ '-./
I ' ' I
I I
I

..d:i..Coda
LJ
'V 5432102 3 5 4 5 6 7 8 9 10

l2 wwrTr I 0
11

Copyright © by lntersong Basart, Holland

Used by permission of : lntersong Basart, Holland

12.
 (AABAJ

[291c#9!I /. / / ]
[,Zl,I[ C9 C#9 . I /. / / I
I / I C9 I F- I F- ]
. [Bljl F?· I F7 I Bb7 I Bb7 I
j Eb7 I Eb7 I Ab7 I G7 I
[8]11 C9 C#9 I / I / I
-$-
Take coda
/ I
I C9 C#9 I C9 I F-
on head out.

I F- ]
-$- Coda
II C9 I F- I C9 IMF- I
C9 (C#9 = 4f) F- x F7 x x x Bb7 x x
(i ) (1

3 4 (3)(4) Sf 2 3 6f 2) (3)
(4)
I

x Eb7 x x

(1)
6f 2) (3) 2 3

Copyright © by lntersong Basart, Holland

Used by permission of : lntersong Basart, Holland
/ A~,/'/'/ / 3~ 3 2 3 6~ 4 6 4 3 ,,,.-----.... 3 2 3
.. \../ /'.
I
/'
I I ' ' /'-
v
v
I
v
'\I
'
'/
'
'\J

'
/'-
v
' / ' / ' / '\/
('1
' ' ' A '/' /
.._I ,,
'/ '/
I I I I I I I IV '•I I '
I I I I I I I I I
I I I I
Take coda
on head out.

4 3 5 3;----'\ 3 5 3 3 5 2 3 0 0 2 3 5 2 -$- D 7 #9 3 2 3

I
[6J
r 11mrrrrl r< crcr1w 12crrrrrri1
rTr<r
6 ~ 6 5 8 i 0 ,,,.-----.... i 2 i Oi i i 0 r--.. i0 i3 ii i i,,,.---.... ii i0 i3

1 e nTr r re rr1 r rrrr f rrrr 1 1 1

i o~ ii i o s 1 ~ 1 s 7 i o~ iii o ii s ,,,.-----.... s

1e rrrr 1r re cc e crrn r r ~ 1 1

~ ~ ~
- I
7 7 8 iO 8 7 7 8 iO 7 7 5 7 5 3 ~ 8

~ ~ ~
7 7 8 iO 8 7 7 8 8 iO ii ii iO ' 8

iO---

Copyright© by RNT Publishing, Amsterdam, Holland

Used by permission of : Robin Nolan Trio, Amsterdam
e 'D1 - Cl1lack 6. Baz '?)et
Ba.z 'Del ~l Ls
'PL
tea.tu.zed 011 'R/\JCl4
~aul //;leadetz

{AABAJ
[A] Intro II G-7 07#91707#9 II

l~;Z I I I /. I C- I /. I
)
1 & 3.

I A-7b5 07 I G-7 I 07
2.

[8J I G-7 I. /. I
II o7 /. I G-7 I /. I
1 07 ;/.. I G-7 I /. I
I 07 / I G-7 I /. I
I
-$-Coda
A-7b5 /. 1 07 I /.
~
II A-7b5 07 I G-7 1 07 I
f.\ /7\
I G-7 07 I G-7 I 07 C9 I

)< G7
- x y C- xA-7b5 x

2) (3) (4)

x C9 x C7

Copyright © by RNT Publishing, Amsterdam, Holland

Used by permission of : Robin Nolan Trio, Amsterdam
15 •
 7 A• \./ \../ A \../ \../\../ 5 / '
5
.. v '/"-
I
v
' "'
I ""
I
/\..
v
/\..
IV
I
'-,
'\./
t'"-
I
I I I I ')
__J I I I I I
I
\. 3 /

~ 8 75 5 357 5,,.---------._ 568

I e IT I e Cfl I F rrr <> I

~
I

I r· Cf" I ,~ rft I r~· Cf I'r fPf I

~ ~
6 4 4 4 5 7 5/ \. 5

[BJ 8 75 5 457 5~--~ 5

6 5 8 8 6 5 5 ,.---------...

I F" IT! t cr1 <> Ir

4

( on head out only }

Copyright © by Belinda, BV, Holland - Used by permission of : Belinda, BV, Holland

lntrollA-7/ A-6/1 B-7b5E7 I A-7 A-6 IB-7b5E7 I A-7 A-6 IB-7b5 E7 I E7 I E7 I II

[8]( A-7 I A-6 I I B-7b5 E7 I A-7 A-6 I B-7b5 E7 I

I
•'

A-7 A-6 I 0-7 ..·,.I C6/9 I C#ciim I

I 0-7 I G7 I C6/9
' ',"','' ,',?' ,':,,
:jFmaj7 I
I B-7b5 I E7 I 7b5 E7 II
"

[8111 A-7 A-6

'
I B-7b5"' 1'~
·1
r 11
·· ;.
'','·'>~' .. :,:·: :
A-7
I
I E-7bs I AT' , ;I
,· .. ·.·,> . <•···o
'""'·1·• . > - 7
' ·':::;
I
I
-·. '

I 0-7 B-7 I A-7 I Fmaj7 I

)
( A-7 on last time )

I B-7b5 I E7 A-7 A-6 1

B-7b5 E7
r:\ r:\
Outroll 0-7 A-7 I o-7 A-7 I o-7 E7 I A-7 I 0-7 A-7
I 0-7 A-71 0-7 E7 IA-7 II

xA-7(A-6)X X x B-7bs x x E7 x x x D-7 x

I
(I)
(2) (3)

3f 2) (3)
(4)
I
 Ol
·o:;
u
:0
__J
[/)
m
E
0
s:
I-
>-
D
0
0
s:
o__

Robin Nolan at Bernhard Gierstl's Hot Club News Memorial Django Reinhardt Festival,
April 2001, Augsburg, Germany.

18.
fls a 11oun'] teena']etz tsltzeli J!,a']tzene toutzed 2-utzope pla11Ln'] the shit out at the ?:Jfan'Jo tzepetztoltze, stunnln']
audiences and sellin'] tots at tzecotzds. J-(e VtJas a chltd ptzodl'J11 Messed VtJith an ama:z.:in'] technique and a hi']hl11
sophisticated lmptzoulsln'] a6Llu11. ?:Jutzln;; tsltzel(s "?:Jjan']o" petzlod he tzecotzded a Clan'Jo called "2-tzstetz 'lan'Jo"
VtJtzitten 611 his 6ass pla11etz ;}-an ;}-anjka and teatutzed in the moule "QuetzeUe." \lhis son'] VtJas tzecotzded 611 tsltzeli
at the a'Je oi 15 and ls teatutzed on hls "tsltzell SVtJin'] 81" al6um.

Clhe 'R/'J'l haue 6een pla11Ln'] "2-tzstetz 'lan']o" totz the last 11eatz and it Ls alVtJa11s met 611 audiences VtJith an enthu-
siastic tzesponse. !.lt ls anothetz one at those classic son'Js that somehoVtJ sounds timeless.

Clhe second at the Clan']oS teatutzed Ln 6ook 3 ls VtJtzltten 611 'Ro6Ln and teatutzed on outz "J!,atin fl#aitz" C?:J.
"J!,una Clan'Jo" ls in 2- mlnotz and 6ased on the chotzd chan'Jes at the jazx standatzd "fln;;el 2-11es."
'

Sttzu111111L117 d-la.ncl Clechnlque ~otz the CJ11ps11 Cla.1170

Clhe onl11 tJ11ps11 ,/!,atln teel that uses dohln sttr_okes all the hltllf·

BEATS 1 & 2 & 3 & 4 &

TAP
FOOT I I I I
STRUM I I I I I
down down down down down

LENGTH short short short short long

flitetz each sttzoke at the pick the chotzd hand must tzelease the tension at the chotzd shape dampenin;; the sttzln']s
to ptzoduce a shotzt shatzp staccato. 'lhe timln'] must 6e exact and the attack must 6e passionate.
 £1z_ste1z_ q,vv;o
(AABAJ

7 8 9 7 810

d-lead
IA\ Guitar tablature
7 8 7 78 97810 1188 5 4 3

2 3 5 3 11 &3 3 5 3 - 78 97810 '\

.... / ' 'A
, ' ,,.
' / A '/'-/
IV ' / ' ..... v ~ ~

' '
A '/ '-/ '\,/ '/
..
v ...._I ) / , / , / .... /
l
I
.....
I
' ' I'
I I I I l"-1" Al
I I I
1 I I j
I v v
bJ v
1~ 4',,,,..,~
Take coda

3 3 2 5 5 3

IBI 5 5 5 5 5 5
r rd
5 1 8 5 3 3 3
w
3 3 3 3
()
5 3 3
II

I
~ ~
1 1 1 1 i 1 1 3 1 3 1,--., 3 1 0

~
1010 101010 10 10 8 9 10 88 888 8 868 8

~
~
9 9 9 9 9 9 9 7 8 10 7r--. 8 9 10 78 97810

-$-
Coda 5 353542 ~D G

R rrrrrr I r r 0
II
Publisher unknown

20.
e:z:n - Cl'la.ck 11. 2 zgtez Cla1v;o
(;A;AB;A}
;}-an }a.nkeje

[8]~ G /. I G-7 j C7 I
II G3.
.Lb.:

]
Take coda
'qT on head out.

I A-7 I Ab6/9 F7 I Eb7 07

2
lG IG II
[8] II C- . I /. I Bb I /. I
I Ab I /. I G7 I /. I
I F-. I /. I Eb7 I /. I
I E~7
-$-Coda
I A7 I A-7 I 07 ]
II A7 I Ab6/9 IG)--- l)o G II
G x G-7 x x x A-7 x x
3f 1 1

3f 2) (3) (4) 2 5f(2) (3) (4)

x Eb7 x x x 07 x x
2 3
(1) (1)
6f 2) (3) 5f 2) (3)

Ab G7

1
2

x F- x x Eb7 x E-7 x x A7 x x
1
1
Sf 2 6f 2 4
 1
4
· E-

II
!BI 14 12 10121410 12 11 101 s 9 9 10 9 s 4 5 6

11
9

8 8 7 15

[g 12 15

12 (strum) C6/9 C6/9 ·C6/9

. /
77
.I .

C#-9 F# 7 86/9 E6/9 11 8

I U 8?54323
9 10101112 12 9 10 11111213
"'
v '-/
~ ---..
..........
'-/'-/
"\.I
"
/'-.
"\./ 'V
'-/'

-......1 ' '

/
r
',./,)
l
I
~
I "'I ".
•
'' I
/
'-
'-/'/
" t''-
A'
v I
I
I
I
I
'v v '/
(' I
I I
v
('-/'-
I
I I
'-,j
I = I
' I''
I \I
'
/ '/ ,,/I

I ' /'-
I I
22. Copyright © by RNT Publishing, Amsterdam, Holland
Used by permission of : Robin Nolan Trio, Amsterdam
C?J1 - ClUtck 12. /2u:11.a ([;atv;o ( fl?SC} 'Robin ;\lolan

[8]11 E- E-+5 E- I /. 1 / I / II
[8] ~: E-9 I I I I F#- 7 b5 B 7 I E-9 I C7 I
E-9 I C#-7b5 I F#-7b5 I 87 I
E-9 I F#-7t;5 B7 I E-9 I C#7 I
I F#~7bsB7
I & 3.
C7 I 87 I E,.:9 ]
2.

I E-9 / II
[QJll 0-.7 I G7 I J C#dim I
I o-7 I G7 I C6/9 / I
I C#-7 I F#t I 86/9 I E6/9 I
I F-7 I 8b7 I F#-7 I s7 ]
E- +5 x E-9 x x F#-7b5 x
1

7f 2 3 4 4

x x x C#7 x x x 0-7 x
1

4 9f 2) (3) 5f 2
(4)
I
x G7

2 3

x C#-7 x x x F- 7(F#-7 = g~ x x F#7 x x

1
(1)
9f 2) (3) (4) Bf 2 9f (2) (3)
'Che CJ1f P£1f 7So££tl lg ptto6a.6l1f the 1tto£t popultl'l f!,4tLn (Jeel on the gcene toda.11. "7So££tl 'Dotza.do,"
"Z/-ott Sephotta." tlnd "/\Ju1t16ett One" tl'le cla.££lc extl1ttpleg o(J thl£ (Jeel. We have included a. £lohJ
tlnd 1ttedlu1t1 veiglon ot ea.eh ofi thege £on'}£ tllloVtJln'} vou the chm1ce (Jotz 11ou1l technique to develop
evenl11.

St'lummln~ d-land Clechnlque fio'l the CJ11ps11 Bossa

'Che accented 6etit£ a.ie the 1tto£t l1ttpotzta.nt pa.it o(J the fieel to pick up on. 'lhege tlccent£ de/Jlne
the pul£e o(J the fieel. J!,ock ln on thege and £loNl1f 6ulld the te1ttpo. 'Cheu a.ie thJo audio extl1ttple£
to help vou on lfOU'l Ntllf 6efiotte 6e'}lnnln'} the fiull ve1l£long.

BEATS & 2 & 3 & 4 &

TAP
FOOT I I I I
STRUM I I I I I I I I
down up down up down up down up

LENGTH accent accent

Cho'ld d-land C"lechnlque fio'l the CJ11ps11 Bossa

~e'lo ln on the accent£ on 6etlt 2 tlnd 4. 'Chelf a.et tl£ a. tzh11th1t1 '}ulde, tlnchMln'} the fieel to the the
pufoe, tlnd £hould 6e petzfiectl1f ln time Nlth the 2nd and 4th 6etlt ofi evetz11 6a.tz. 'lo '}et the (Jull pett-
cugglve efi(Ject vou· 1ttu£t ulea.ge the ten£lon ln 11ou1l chotzd htind, dti1ttpenln'} the £t1lln'}£ ln £1fnc Nlth
6e4t 2 tlnd 4· Without thege £na.tze-d1lu1t1-llke tlCcentg the (Jeel jugt (JlotltfJ a.Na.If into o6llvlon ttlk--
ln'} the 6tlnd and tludlence Nlth it.
C?J2 - i::t,Mck 4 & 5· Bossa 'Dotzado ?Jotzaclo Schmitt
{ flfl7.Sfl} 7.Sossa. 'l)otza.do Ls tea.tutzed 011 'R,NC/;1
1
ntro 7 1o 7 1O 8 10 8 8 10 8 9 I 0 9 10 8 10 8 8 10 8

1
A
r r crCrtrferr erl rrcftr 1 2P-=s
7 6 7 6,... 7 5 6 5 6 7 7 6 6 6 5,...
1
1
1 3 ·5
1& 6 7 8 5 5 7 5 7 5 3

12. 568568 10 10
-

71~<r~n(1
~ -------
~E· 1 ~ II
/

( II
[B],311,... 10 1311/\ 1113 1 ;__ 11 10 12
11~~@.
@'
II ~r@ f ~If~~~ ~n(ri ~f= I 7~ I
13 12
13 12 15 13I \ 1315 ,,,,,,,,,
13
15 .,../~ 14, ,,"r-.,
"'.
I\
'-./ ' / ' /
----A
'/
,,,
'/

' '
/'-. iV
......... "" t''- " "I /'. ' /
A " " "" '-./
('. ' v v
I I / I I I I
I I / I I I I
v v

Coda
-$- 5 6 5 5 9 8 6 8 9 8 6/ 7 , 9 8 6 8986"
,,,
, "
,,, A ' '
/' /' /'
. /'/'-./' ,,, ,,, /'-./
'• ,, ,, ' '·
'-./ / "-/ /
... ........,,
'-./ '-./ "" iV ......... t''- t''- ' ' t''- t'" t''- t
I I I I I I I I
' A
v /I
I
'f'•
I I I I I .
(' (' I I I I I I I I I I I I I I
L-....J...._J
I I
I I
Outro7 1O 7 1O 8 1O 8 8 10 8 9 1O 9 10 8 10 8 8 10 8

1 r rritrf DH:r rtrl rrg(tr1t51J rer I

1Prgfti<t~o:p ij(1 prjEf tgf~&~r Dr 1

2 6• Copyright© by Edison Ramsong, Germany
 0- x E7 x x x E- 7bs x x A? x x

3 2) (3)
(4)
I
xA-7bs x x 07 x x x G7x
- y
1
C-0
5f 2 5f 2) (3) 2) (3) (4)
 Num6etz 1
intro
and Outro
{ AAJSA} Num6e'l 1 ls teatu'lecl Oh 'RNQ1 .&. 'RN'l4
1142222400422224 2222 42

II
r 6 7 6 5~ 6 7 6 5~
. A
'/
(' v
'/
f
'
A
v
~

{ ......., v
' /

v
'/

(' v
A

I' II
f '
IV I " I I I I
' I
I J I I I I I
I / I/ I /
I
"
6 7 65r--..5 6 57 5r--._ 3 23~ 2 3 2

4 3 2

Take coda
-$- rad_1°"14 2 2 2 2 4
0
O 0 4 2 2 2 2 4 2 2 2 2 4 2

4 5 6

4 5 6

g
7, g 10 7 7 8 r--\. 10 12 1212~ 10~ 9 - ~"
I
I
r--\. '-/ '/
v v V•
' ' I'
v
"
v '-/ '-/ '-/ '-/ '-/ '-/
' ' /I '
,, ' ' /'-
A
'-/ ..
"/
/'
'-/ '-/ ' / , ' f'
I I
I
I I
I
I
(' (' f
' I I J l
I I / I
Coda L_J I I

/ 1 1 4 2 2 2 2 4 0 0 4 2 2 2 2 4 2 2 2 2 4 2 432<
,/, ,, ' V
"/ ' / '/ / / .....
,,,Al'"-',, ........_
• './'-/'-/A I I (" '/ ' - / '-/ '-/ '-1 I ''-/
'-/ '
,, /

'(' f
'/'
'
'-
<.. ' /
'-/
'
A
v I ' / , ,,, ,, •
1'('(' I I I f"- ('('(' I (' I I I I (' I r 'f', '
I I L__J I I I I I '---J I I I I I I I I
L-J
I I L-J I I I 1---J
LLI
"" 1 1 4 2 2 2 2 4 oo 4 2 2 2 2 4 G G# A

I nyrITr:rlrrrrt:rul 77
C C1 II c
 Intro
/\J u 1116e1z- 1 'R.06l11 /\Jolan

II 87 IG G# A I (break) II
[8]~ A /. I Amaj7 /. I
I A7 /. I 0619 /. I
l 0-7
. _ill_ Take coda
/. I A7 I F#7 II
]
'fT on head out.

I 87 I 8b6/9 ATA
[8]!1 E- 06/9 I /. I
l A-T··· 81 /. I
I E- 06/9 /. I
l
-$-Coda
87 :~
~: 87 I E7 l 8b6/9 ATA
~
I 87 I E7 IG G# A II
(for G# move
x 87 x x x E7 x x G to 4th fret) A

7f 2) (3) 7f 2
(4)
I
xAma7 x x x x 0-7 x
1

5f 2 5f 2

x F#7 x x x8b6/9 x E-

2) (3)
(4)

Copyright © by
RNT Publishing,
Amsterdam, Holland
Used by permission of Sf 2 3 f (2) (3) (4)
Robin Nolan Trio, '"F---l--l---i---:¥---1
5
Amsterdam.
 xx E- x x A9

(I)

(3)(4)
I I
Intro
and Outro E-9 E-maj E- A7b9 A9

(head only)
10 10
/
12 12
' ,, ,/", ' / ',,/ I \ ' / ' /
/ /
12 11 11 11/\ 11
,/ '/ '/ '/ ,/,...,/ 10
'/ '/ '/'/ '/Vg 9 8 '
.. n
- In-
' ' n-......
'
- I
' ' 0
~-
0
~
........
I
0
~-
' ' 0
~
'~I
I
7
' 17
I
' '
I
'
17 ' , I c::
I I ;
' ' IC::' ' ' / (' /
' c::',I - /I ,
'·
.
'/('I
I / I / I I ~ J I v I V f'I I
; I ,)
v v

L6} 7 ......------.. 9 9 10 9 7 6 7 9 I
7 6 7 7 9 10 9 7
"- II

.. A
IV
'/
,,/
,,/ I I I
I
I I
) ' )
I
I I

' .
I
,,/ '
/

I I I A ,> I"'
f''/ A ',/'>' ,,1 v 'A > '/ ') '/"- /' A
)
'A 'A '' ' I
..... I I'' v /'/'/'A '----./ \._ LJ I
' LJ '----./ v

""'

2
1 · 9 7 8 7 8 9

r bLllf 1
Copyright© I 991 Worldcopyright Prime -Time Songs I TBM-Hilversum I Holland

1
i1u;~f- 1~r- tIT@f 1~~r~ fr· tcrtr1
8 8 8 8 7 5 7 7 7 8 10 12 108 710 '9 7 8 7 8 9

~ ~ ~
7 9 7 9 10 5 7 5 7 7 910 9 7 9 8 10 8 7 9

Ir cr I crrrrrl rrrrrrrr1 e -
 Intro & Outro
( x4) ]
( E- I E-maj I E-7 I A7 :I
[6]( E- I /. j A-7 /. I
l 87 I /. I E- I 87 I
I E- I /. I A-7 I /. I
l 87 I /. I E- I E7 :]
[8]
· 11 A-7 I 07 I Gmaj7 I Cmaj7 I
l F#-7bs j<87 I E- I
I A-7 rb7 I qmaj7 I
I F#-7b5 I 87 I E- ]
E- E-maj E-7 x A7 x x

5f (2) (3)
(4)
I
x A-7 x x x 87 x x x E7 x x

(1)
5f (2) (3) (4) 7f 2) (3) 7f (2) (3)
(4)
I
x 07 x x x Gma7 x x Cma7 x x F#-7b5 x

5f 2 3 4

Copyright© 1991 Worldcopyright Prime -Time Songs I TBM-Hilversum I Holland

'!;he LJ11ps11 Sam6a Ls 611 ta'l the most dL#Lcult 'lh1fthm to maste'l. !Jn tact, /\Jousche 'F?.osen6e'l'j t'lom the
'f?.osen6e'l'j 'l;'lio is p'lo6a6l11 one at the onl11 'lhl[thm tjUita'llsts ln the NO'l{d to pla11 the teel convlnclntjllf· !lt
takes a lot at ha'ld ND'lk to ph1fslcaU11 6ulld the poNe'l and stamina needed to 6last l[DU'l Nalf th'loutjh a ten
minute LJ11ps11 Sam6a. Once vou 'jet it doNn lt should sound somethin? like a steam t'laln tjolntj doNn a hilL

'!;he accented 6eats Me the most impMtant pMt at the teel to pick up on. J!,ock ln on these accents and sloNll[
6uild the tempo. 'l;he'le au tNo audio examples to help lfOU on vou'l Nalf·

BEATS 1 & 2 & 3 & 4 &

TAP
FOOT I I I I
STRUM I I I I I I I )
down up down up down up down up

LENGTH accent accent accent

/ltedltetztzanean Blues
/f!l.edite'lMnean Elues ls the title tMck at the tL'lst R/\J'l; C?J to 6e aMlla6le ln the USA and Canada.
'!;he son? N'lltten 611 Ro6Ln ls an up tempo LJ11ps11 Sam6a ln E mLno'l.

S ummetztlme
Summe'ltlme ls anothe'l up tempo LJ11ps'f Sam6a teatu'led on ou'l tL'lst t'llo C?J, R/\J'l;1. '!;he 'l;'llo 'lecMdlntj ls
01Je'l 12 minutes lon'i and teatu'les an extended "pla11 out 114mp" 6ased on the same ideas 1tluad11 discussed on patje 7.
E
(\.)

1:1
Q)
tJ
E
<(
en
0
Q_
Q_
Q)
N
c
2Q_
(\.)
:c<:'.
 /hed.ltetztza.nea.11 Elues ls the title ttza.ck at outz tLzst 'Z<SA, Ca.11ad.ia.11 C'D zelea.se.
Intro
F#7#9 G7#9 F#7#9

i 2 3 2 4 4 5 3 4 5 2 0 2 4 3 5 6~ 3 5/\
w

I =--rru3R a;m J I I - trtr I tr rr I

·.11:t@f1f(Etfrf filFEFCfftFEf ITIT1 - · 1i:D I

3 2 5 3 5 6~ 5 5 3 5 5 8 10

ll3E1p1g1gl 7bFF1gl Lf9bf I - 7 EEi

I Ftyh~ 2 a1 2 i1F"~1 ff2W· I - 11

ElIT&@1JJjjJ I - tfbf<Ttf rr
II
i~32445 3 45202202 20220220 2
I

I Et er uJE I48 JJ J:tfil IJa £Lfil JJ I J 1 - I

( x 3)

7 s 10 ii iO s 7 s F#7#9 G7#9 F#7#9

e'Dz - ciwk 121113. /J;led.ltetztza.nea.n Blues 'Ro6l11 /\10La11
For intro use the same rhythm as shown on opposite page.
Intro

II F#7 #9 I F#7#9 I F#7#9 G7#9 I F#7#9 II

~~~~- I ;/. I /. I F#7#9 I
I 8-7 I ;/.
I /. I F#7#9 I
I 8-7 · 1 ;/.
I /. I F#7#9 I
I 8-7 ,. I ;/. I /. /. II
", ~;,P.> ~x:t'+:

II C9· l ;/. l· /. 1~#9 I

I C9 I ;/. I /. I ;/. II
II 8-7 /. l /. I F#7#9 I
I 8-7 ;/. I /. I /. II
. (x3) ]
(F#b9 I F#b9 IG IG

I F#b9 I F#b9 I F#7#9 G7#9 j F#7#9 ]

e hotzd. s ha.pes
x F#7#9 x x B-7 x x C9(C#9 = 4f)

9f 2 7f (2) (3) (4) 2 3 4

F#b9 x x G

Copyright © by RNT Publishing, Amsterdam, Holland

Used by permission of : Robin Nolan Trio, Amsterdam
 S ummetztlme
SummetztL111e Ls ~eatutzed. on 'R;\J'l1
{AB} 657546

Intro
and Outro II - rrrrcd

[AJ' 0~
7 5 7 5 5 7 7 5 6

7
Ircrrltl 5 7 5 7 5
)J )J
4
'--.../
J I
.........._____
J. ITI
I 0~
5
trur er 7 5 7 5 5
I
<>

7
.... <

7
lr 7 6
<>
)J j J J. crl
;;>"

'--.../
I
.........._____
5 75 7 5 8 7 5 5 12

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Used by permission Warner Chappel, BV, Holland,
 CJvpslf 9-az.z. Son~ Book
and ~lav ;4lon~
RNTB1
i . Djangolgy
2. Minor Swing
3. It Don't Mean A Thing
4. Django's Castle
5. Sweet Georgia Brown
6. Honeysuckle Rose
7. Oh! Lady Be Good
8. Nuages
9. Douce Ambience
IQ.Blues For Ike
playing time : 74 min.
11 .Dark Eyes
C'l:J Settles.
RNTB1 - This book is unique. It is the first time a popular selec-
tion of Django Reinhardt, Gypsy Jazz, QHCF tunes have been
laid out in such a simple, easy-to-learn way. We have unraveled
the mystery in learning this exciting style of acoustic guitar.
"The CD and Book are INCREDIBLE !! I can't recommend this
enough to my students".
Paul Mehling - Hot Club de San Francisco.
''Your book is tremendous. It is a great accomplishment and is sure
to help players gain a greater understanding of this genre of music".
Neil Andersson - Pearl Django.

RNTB2
1 . Out Of Nowhere RNTB2 - The second book in the series takes a look at a "Minor
2. Minor Blues Blues" and the "Rhythm Changes" as well as several important
3. All Of Me Gypsy Jazz Standards. We have stepped up the difficulty factor
4. September Song and included a selection of songs rich in harmonic variation.
5. Swing 42 Several of the tunes have slow and medium versions and a few
6. Daphne of the songs are played at tempos more like you would expect to
7. Belleville hear in a gypsy camp setting at Samois.
8. Noto Swing
"As with Volume 1 , this book an accompanying CD are an essential
9. Hungaria
purchase by every gypsy jazzer. This is Without doubt the best way
1O.Latcho Drum
playing time: 74 min. to practice and if you turn the volume up and play your acoustic gui-
tar hard, it is the best boot camp for your next gypsy jam".
Andy MacKenzie, Just Jazz Guitar.

RNTB3
1 . Troublant Bolero RNTB3 - For the first time in the history of gypsy jazz you can
2. Bolero Blue check out this exciting new rhythmic development. The gypsy
3. Caravan jazz "Latin" song book features the four most popular latin
4. Bar Del Pi rhythms being played on the scene today.
5. Manha De Carnaval
6. Luna Tango Gypsy Boleros I Gypsy Tangos
7. Erster Tango Gypsy Bossas I Gypsy Sambas
8. Bossa Dorado
9. For Sephora We have chosen a varied selection of compositions from the cat-
10.Number 1 alogues of Django Reinhardt, Dorado Schmitt, Stochelo
playing time: 125 min.
11 .Summertime Rosenberg, Bireli Lagrene and Robin Nolan. That's a big line up.
12.Mediterranean Blues You can't do better than that.

RNTB4
i. I'll See You In My Dreams Due for release in December 2001, RNTB4 returns to
2. Tears the QHCF I Django swing repertoire featuring another
3. Crepescule collection of Gypsy Jazz classics and several of
4. Night And Day Django's most celebrated compositions.
5. Anouman
Also, in response to many requests, we have included
6. What Is This Thing Called Love
several examples (both in diagram and audio form) of the
7. Sweet Chorus
various rhythm styles played at very slow, easy tempos.
8. Limehouse Blues
From the basic "gypsy swing" to the more advanced tech-
9. Exactly Like You
niques of "doubling up" and "rhythm accenting," we guide
1O.J'attendrai
playing time : 70 min. you step by step in the further development of your skills.
i 1.lcelandic Folksong

{iM otzd.etzin;; details visit outz 11Je6 site at,

www.robinnolantrio.com
 RNT1 - Robin Nolan Trio. (October I 996)
Hypnotic rhythms and rippling melodic themes over Latin, Jazz and Hot Club de France.
Unforgettable renditions of "Sweet Georgia Brown", Gershwin's "Summertime" and the pas-
sionate gypsy anthem "Dark Eyes".
"Robin manages to make every lightning arpeggio his own. His lines are unflinchingly melodic,
playing time : 65 min.
his barking tone Selmer- approved and his precise delivery sweet yet tinged with melancholy.
The young Nolan plays brilliantly".
Andy Ellis - "Guitar Player USA.

RNT2 - Street. (July 1998)

The second CD in the series features a re - take of Nolan's "Friar Park", a dedication to
George Harrison who regularly invites the Trio to perform at his English estate of the same .
name. Also featured is the song "And Then There Were Three" from the MGM Movie "Autumn
Jn New York."
"In these days of "Cackophony" its good to hear some "Proper" music."
playing time : 69 min.
George Harrison,

RNT3 - Swings & Roundabouts. (November 1998)

"Swings & Roundabouts" features classic renditions of songs such as 'Tea for Two" and
Reinhardt's famous "Nuages" and "Minor Swing" alongside Nolan and Meader's powerful
original compositions.
"The RNT must be considered among the International top five" .....
playing time : 60 min.
Jon Larsen - Hot Club Records.

RNT4 - The Latin Affair. (May 1999)

A compilation CD project with a collection of Latin tunes written by Robin Nolan and Paul
Meader. Featuring songs such as " Number 1", "Bolero Blue", "Carino" and ."Bar Del Pi".
A collection of self-penned songs featuring some of the group's most innovative arrange~
ments and best music. Made up of a selection of Boleros, Tangos, and other latin-tingep
playing time : 74 mi_n. instrumentals, it's a tour de force.
Michael Dregni - Vintage Guitar Magazine, USA.

RNT5 - _Nat Meets Ojango. (February 2001)

".I've always loved l)Jolan's Gypsy Jazz guitar, but this record takes a new tack. It contains
jazz standards, played with Euro-swing verve, and features wonderful vocals by ex-pat
American vocalist Randy Greer. Nolan's playing is stupifyingly melodic, clean, sassy, hip,
tonefu/ and free as a bird. Sacre b/eu, you must hear this l A monster talent. Nat meets
Django is so wonderful ... I'm a real fan".
playing time : 60 min. Andy Ellis - Guitar Player USA, 2001.

RNT6 - Ballads. (March 2001)

A re-working of some of Django's most famous ballads including Nuages, Anouman,
Crepescule, Tears and Django's Castle.

Deep and introspective, intense and passionate ... a collection of anthems for the heart !
Ira Smolkin - IS Promotions.
playing time : 60 min.

fiorz otzdetzln.5J details vlslt ou.'l Ne6 site at,

www. robinnolantrio .corn

 CJ11ps11 9azz
Book 4
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C"lh~· 8011~8,
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2. Cleatzg
3· Ciepugcule
4. /\JL'jjftt and 'L:Jay
5. ;411ouma11
6. What Lg thig thi11'jj called love
7. StVeet Chotzug
8. ,Cimehouge -Slueg
9· 2xactl1f ,Cike }fou
10. '}' atte11dtzai
11. !Jcela11clic ;folkgo111

fotz otzcletzin;:; details visit outz Ne6 ;;ite at,

www.robinnolantrio.com