oe

ass

on guitar

Transcriptions by KENN CHIPKIN Project Manager/Ed~tor: Aaron Stang Additional Text by Kenn Chipkin Technical Editor: Albert Nigro Engraver: Andrew Gregor Front Cover Photo: Margaret Ford Art Layout: Joann Carrera © 1996 CPP MEDIA GROUP, a division of WARNER BROS. PUBLICATIONS Atl Rights Reserved Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher. No part of this book may be photocopied or reproduced in any way without permission.

r

eontents
Page # CD Track #

Blues Intro ' TIInlngNotes

'

'

,3,.......... .......1
2

"Caged'"
Examples 1,·3 '" 8 ,3·S

Rlght ... Hand Technique
Examples 4·5 10 6,·,8

Left ... an,d Technique H iExample 6 ,

,

12

Harmonic Families: Maj7, Do,m7, Mln7 Diminished 7 and Augmented SubfamiUes Major 7
Exam'ples, 7-19' Exa,mple 20: Major Etude , "

"
, ,

14 16
"""" 22

".. II 12-25
""" 26

Minor 7
:Examples 21-31 ' Examp'les 32-33 .."'

,",,,

'
,,, , , " " ,, ,

25
20 32, 38 40

27-37
35-39 40M 45-48 49 50
8

Superimposing MaJor Triads Over Minor Chords Domlnant7
Examples 34-38,

Altered Dominant Lines
Examp'les 39--42 , Examples 4J-45 "'''' ''' , ,

The Dim.inished Scale For Altered Dominant Chords The Tri..Tone Substitution For Alter~d Dominant Chords Examp'les 46,-48, "." " " "" 42, Scales For Altered DominantTurnarounds Examples 49~50 " Performance
Joe's Blues Stella By StarUght ' "" '" 49

,.. 5 1~53
54~5S

Section,
" ' " "" "..' 53 65 81 56 ,57 58

AU The Things You Are

. .. I11J' v.. - '" ".w ..... . 1... .... .D.....-I ... " ::: " hold.. .. Pi u .tl JI.. ~ . .r .... . . A I _- "'I . 3 • ..-- - V . ..~ .. . A ! - .... . A .»_ I CD . ..... 3 L .. " -- v - .. . -. . . . c7 .. . " . i!: ~~~ f- I....--== .-3 .~ ft " All Rights Reserved JOE PASS . ._ v . - v . O' c7 I""""'l .1 ~. hold...._ ~ 07 - • ~-W~~ 1i ~ -v ~ '1 ~ ~ ~ • ~ .. .." ......- . .... . . - -"Yol" ~ ~ .. .. . . 07 """"'Ii~ ....... ~ ... .-_ --- ~~ lo000oi 1 ... . ... . ... f= _."tJ » ~ ~ ~~ ..- .. ..~ . --. Dm7 " " O' ...... . a u . .3 CD ...L. -v . . . V I ....- .. - v - " - . .- .-oc.... _ft . F#7 F7~ ~i u.._/A. e 1969 --c"7"" .. 1.. ......... l.--I ... ~ --. 1i .. .

.110 .....~ ~~. ..... r: ..... ~ ~ ~ I. hold.. = trW " ~ .. .. hold.-I ~ ~ ~ • hold.b13) 013 . .... .-I .. ~ fL ..·1 - . ft '" ... ::c .... . .. ... .....110 Osus9 DP3 C13 ..c7 "11 ... A 7(1) ~ ..".. .. 1 I L ...... ..110 . ~ I ... " - ..... - . .. .. .. " " .. ~.. .. c~ ~b~ ~ ~ . trW ~ ..~. I~~ ft. ~ -" 1 ..:: <" ~ ../ - ~ - :... . . C:.. h " . ..... .. :: - r: - .. - :..E7(#9) hold..... """" .. ~.. /. ._ . 'A hold..* . ~ -x .._ . :..... A ~ A - ... ft- Lb~ ~ J!. ._. 07 ... •n fL.. x. -. ~ 4":0 in 4-" n - --n li .. ....-I 'n ...._ ~ -... X .110 ~ . "..n . • ~ :: _"'- i~l5:=: ... .' '-.~~ b". .111. ~.. Ii w w ~ ..::=:: J J:: V.. ... Jt.. ft .....: ::: ::. 813 ~b.... - ._Yi . .~ .. - .. 1 . " <" =..... ~ -.. c. '" II ~ IfI !ttl '-' " ': n .... - A ... " ".. _i" ~ p . ..:... '" . "J ..-I ::....:.... A "- . hold.".. ~-~ t. . ..:. G#7(9. x n - " .:.. ... Ai .110 __ ~ . -* -... .~ .... .J hold. w '" .... .. n.... ..... " . 07 ....... ..-I :=' " .~ .-.-1 - _£ D7 07 """11... • ~ ~~ . ~ .. I I ~ _ .n n :: ..n~ 3 .... ~ I. .. ~ :.. b~f .. .. L. ~ ..

. w '" .. n .._ v . ': .- w " '" . . - . .... w F . _... .:: .n . .." .. ....... _ 3 .... _... JIo G7 =--- ... ....#.. e7 C#dim 7 G7 ~ ...-I p In .. .. v . '-' "-" v ...w . __ I'.... III G#7sus G(9) Db13 e13 q... w ~ -:t... .. _H_ ~ 11 W .11' II' I... e _ .I I 1"'"'-1 ~ • " • -trW ~ " ........... n ~ - _l 1 'I .. -. 1. L -co_ eJ ~ .~ lot ~~ IJII' . w " . - ..... ... . W J" _ . w n .. I .. eo • .• 8va I .. . e J> ::..... .._ . w . ..b 13) Em 7 Eb 7sus Dm7 Ab13 1.. ..... ..: ~ .I.. ..= .....:._ w """'" c7 ~.-. ::..n ... . ::. '" ~ eo w _... . V .. .. ott ..... 'W c9... w ... .... Ii!!' ~:I! 1 .. w .. ~ x . w . e... ~ _. . ~ ... . ... :.._ _" - "ft . .. w " .:...~ w ~. i... .._.. ..w *G~ sounds at pull-off. n " w . v .._ 3 "'r ! g -...'.. __ IL -.._ """._ IH ~ ::. . . .. d~ ~ I. ...:... I.. ~ ~ 'i " ~ ...-i .. .. .......~ 'i " 1 .... -... -:t.. • . _A . ..n .. .. f:..' K w n _ . . -L ~.. 07 w Lw D7 e7 I e#dim7 I !I -"'.. ~ .. . _... - .w ._" --. trW ~ ~ " hold. . -" n~ v ... ... In ...... 1'--- . V .. I .. lob.n I.l .. LI Cji'i . .. .11' G13 -"'.. .. '" n II.G#7(9....- ..---. .... ...... .. '" ... • ... . ..

.... .... .... . ~ *IW"· ~ -.. 3 .-I "'It ... ... ...II.. . - c7 I lj_ 1 3 3 _"I" .. "' .. '" .-. ... :. -"- = . . L. "" - .._ ..I I. eJ G7 ~I I. ~ ~ - hold.. - - ... ..... ~ .... ... ..... «<. ! . . _ '" :" _"- .... '" C7 . ~ 3 I~ ~~ 3 . . - .- -- :" ... --.n.~... '" _" ..~.. """'- ... ~ ... ... ._ - P -'" -..~ ~ v n . ...A sounds at pull -off... ~ ~ ....ft '-' ..- w " .On • ..._ "" ... II'" . . .. ... - . J . .. - -'" n .. . .. i '" "" '" - ....w. ~ _" C#dim7 - E7(~9) ......h J .. .. .. .w. n ~ IN ~ ~ ~~ . .. ..ft ... . b .. ~ .. ... ~ . _ D7 ~ ...........----... *IW'~... ".... ~ G7 ~" '" .n •n ... 1... .. .. " ... .. . ~ ... .. -" '" '" . 07 A~ 7(#11) r---3'1 . .. ~ b~~ .. .w.....--. L ...... .~ ...... " - ...

" - -.:: ]: ..... :. -"" ..../". _... .......011:.<'Ii .. C7 C#dim7 07 ~ 07 .. 1ft .. " .... .:.._ .. -"- ..: ~ hold. ..~~~ 4 _A .. ~ ~ =1._ l_ ~ ~t~l ~ . Lo - . " ~ r" .. 1..- ~ c13 "'/IJ"" .._ .."'/1 "" ..:..._ :.._ . ii" ~I: . 'on ft ..... - _.<... ._ Cl3 ~ i .. ... I IJ. I...:... " " . "I .... ~. J '" "-\ . " • r .:- - ... .. _.. - ~ ....... ~ h~~i~ • ~ ~ ~ .I VD _.. _"" _X . Jt" ~ B13 Bb 13 B13 C13 ....." = ...u.. :.... " ...... .- _ft_ . ft" . ft • L.. l " ." /:\ .. ~ .... ~~ :.. . n :.. ...._ - " . - ~ . ~ ... ... I....\ J . ...._. :..'I . :...-I .s: :.

converting each to a barre chord that can be used allover the neck. You can re-finger these forms so that your Index finger acts as the nut. 1st Inversion Form 3rd of chord Iii . Example 1 (CD 3) Five FolklCountry Chords: Example 2 ••••• 32 1 111 21 3 231 (CD c A G E D 132 4) From the five folk chords we can derive five different fingerings and positions for a C chord. The roots of the chords are derived from a cycle of 4ths. All five are root position chords (C in bass). A 1st inversion chord form (3rd in bass) is used in order to keep all the chord fingerings In close proximity. A G.• The acronym "CAGED" stands for the roots of the basic open position major chords: C. and then lay your index finger over the nut and re-finger accordingly. (C Form) (A Form) (G Form) (E Form) (DForm) C C C C C 43121 1333 321114 134211 1243 Example 3 (CD 5) It is very useful to be able to play all 12 major chords within a given area of the neck. and this example illustrates how to do so in three neck areas. First. E and D.play the basic open chords with the given fingering.

9ths and other tensions. include 7ths.SIT . Area' I: ~Er C -.Once you are comfortable with these forms. A 321114 43121 134211 II 134211 G Area 3: . 321114 liar g~r Ab nb/c# -. change the qualities to minor and dominant. Next.SIT ar lIt It F Bb Eb Ab nb/C# 134211 1333 2 134 321114 43121 ilr 321114 E )( IllOfr x 1333 G .-. 1243 321114 x Err tl1' -.... 43121 F# B IT 134211 lIt 134211 A Area 2: II 1333 C 113 tlr ilr Bb Eb Ab IT 321114 43121 134211 air liar ar B x E . as the original major types are the building blocks of 'tour fretboard access.

. use alternate picking when on a Single string.~ . The choices you make can be as free and improvised as the style of jazz itself. In general. . Playing with a pick does not afford you this flexibility._ w . . use a downstroke. All changes from string to string employ the downplck exclusively. When changing from one string to another In either direction. Downstrokes tend to give definition to your string attack. CD USING A PleK A small pick is recommended to keep the closest proximity to the strings as possible... " . despite that it may break the pattern of alternate picking.w w ... _ -..." ~~~~. Joe seldom uses "bockplcklnq" (or up-picked notes) when descending from high to low strings._ . - . you should seek to find the finger/string relationships that me most comfortable for you. Example 4 (CD 7) This illustrates a typical alternate picking approach... ._.. ft ~ . 1"'1 V 1"'1 V sim. .. where you can choose any combination of notes from a given chord. ..- "!L . This will help you to "feel" the instrument more than if a regular (or"loroe-sze) pick were used.~ . Unlike the standard classical approach of assigning specific fingers to the six strings..w . No particular system is necessary.10 ® FINGERSrYLE It is important to develop the ability to play fingerstyle.. . t:I *-.

... .... - . .. .. ..... p ... " '" "'- ... . .. .. ....~ '" " . .. _r_ ..... p ..... . .. ." ~ . Example 5 (CD 8) We will look at domi- More of the same picking approach is shown here with lines based on G7 nant chord improvisation more closely later on in the book.. . p . ......... p .. - ~ - .n e . " ..... .... '" .....-o!'!!I • 1':'\. " 1":'\ i*" r . """"" .. .. . . . .ft . . A ! IijII .- .w .... • .. .. '" - -'L ........ .. p . . 1':'\ . .. .. . .' .n . " .. 1'0 .. ~". .. .._ .......110 .. . .c<>_ n • .. -- ~~~ '-' Oft .. " ".... ...... r ._... . ~ 1. ._ - - .._ .. ~ "~"ri .I..~~ ~~~~~~"~-1.... • ... ~" . . . ~ ... - " - . .~ _.

] At this time.... ~ . "n ..-/""...-. Hammer-ons and Slides Guitar players use these slurring techniques to create a more lyrical. where many notes can be heard within a single word or syllable. By playing multiple notes with a single pick attack...... - . (The fragments transcribed here do not include the repetitions as played on the recordinq. hammer-ons and slides that can be isolated for practice purposes... It would be a worthy time investment to transpose the musical ideas to the lower strings.. - -v "n '" . as they will feel slightly more difficult to produce due to string mass" Example 6AI Freely .... . t. - ... the phrasing begins to imitate a singer.... it is not essential to understand the harmonic implications of the lines. Example 6 (CD 9 & 10) In this example there are several different combinations of pull-offs...Pu"-ofls. . - "n ... legato sound than continuous alternate picking can offer. ~ ~ - ~ _--. - -~ "ft ..~ ~ '" - .... ftd~~ --"~ n 'n \' ... . Simply practice the fragments until they are under control...

~~ ~~~~~~~~ ~ ~ jr. .. Do U ! .... "'. "... -p Example 6B: This line highlights a hammer-on to a new string. a technique that allows great mobility and agile. L~ ~ :J 3 . . . etc.... . ........ - ....ft ..:'... .. 1ft ..0 .. I I .. * -. . . ~ *Hammer to D note without pickin g~trin g. .. ~ 1ft ... _p - etc. " '" . ... legato playlng_ Another goal of this approach is to strengthen the third finger....~" eJ ~~ ~. .. ~p • . ..fL ~ . -- .

M @ To free yourself of complexity and "over thinking" when soloing. and augmented becomes a doml(#5) sound.#9/b9.13)or tension tone (15/b5. dominant 7 and minor 7 Their intervallic structures are as Example In C: Cmaj7: C C7: C em7: C E E Eb G G G B Bb Bb Note that the mail and dom7 families are based on a major triad with two different 7ths (~7 and b7 respectively) while the min7 family is based on a minor triad with a b7 . in a jazz context they are viewed as "substitutions" where dim7 becomes a dom7(b9) sound. Instead of concerning yourself with every extension (9. b7 or b9 of a dominant 7 chord. 11. Diminished 7 Chord: 1 b3 bs bb7 Ex: Cdlm7 = C Eb Gb Ibb This is a minor triad with a lowered 5th degree and a double-lowered 7th degree. perceive that chord as belonging to one of three "families." These three families are major follows: TRIAD ------------1 Mail: Dom7: Min7: 3 3 b3 5 5 5 7th 7 b7 b7 co 7.J present in a given chord. etc. anyone of the notes In the dim7 shape can be considered the 3. Augmented 7 Chord: 1 3 #5 Ex: Caug7 = C E G# This is a dominant 7th chord with a raised 5th degree. In respect to chord substitution. . 5. Since all the notes in a diminished 7th chord are equal. Diminished 7 and Augmented Subfamilies The diml and augmented chords can be considered "subfamilies" of the dom7 Although these chords are commonly used entities unto themselves. it Is best to boil chords down to the most basic terms possible.

5.we see that the dim7 sound is constructed by "stacking" consecutive minor 3rds which diVides the octave into four equal ports. Step 3 revoices the stacked minor 3rds into a commonly used "guitarisfic" shape on the top four strings. In Step 2. Augmented Chord Substitu'ion Process: 51EP 1 Spell augmented sound: (consecutive molar 3rdsl A 1 C# 3 E# #5 51EP 2 Voicings are naturally "guitaristic" A STEP 3 C# E# Add the b7 (G) . the dim7 chord Is analyzed In the context of the dom7 family (Al). the remaining three notes complete the 3. When we assume anyone of these four notes to be a dom7 chord tone. with its inversions: C#dim7(A7b9) _3ft 2314 Edim7(A7b9) _6ft 2314 Gdim7(A7b9) R 2314 Bbdim7(A7b9) )( x 9ft gl2ft 2314 In Step 1. b9 equation (always excluding the root). b7. This shape inverts itself every three frets as it divides the guitar neck into equal parts as shown by the chord frames. 5. Finally.Dlmlnlsheel 7 Chord Substitution Process Ex: C#dlm7 as substitute for A7 STEP I Spell Dim7 sound: (consecutive minor 3rdsl C# E b3 G b5 Bb bb7 STEP 2 Relate chord intervalically to A7: A7: A 1 C_ 3 E 5 G b7 C#cUm 7: C# 3 E 5 G b7 Bb b9 S1EP 3 Revoiee notes to form "guitaristic" shape that symmetrically divides the neck into four equal parts. b7 and b9 of the dominant chord. The intervals present will always be 3.

. ::: . ~ .....-I ....... . Example7A: ~II &J ...til n C Major Scale .. ..~ ::: .. ~ y . ........ -- This line is derived from the following harmonization. It is best to think of all the chord shapes as "one big Cmail chord.. . e e 1 u 2 3 4 5 6 7 .... - r"'""1 3 .. ..: . In Step 1. carrying C major scale notes under the melodic line. ~ - - ~ hold..-I :.~.. . ~ ~ • III- ". . Step 2 shows the voicing of the augmented sound to possessa naturally "gultarisfic" shape that symmetrically dlvldes the neck into three equal parts...... :. for example." HarmonIc FamIlies: Malor 7 With Cmail as our example. The harmonization is again fully diatonic.. ~ n r .. we add the b7 (G) to the augmented chord wherever possible to complete the "dom7(j51 sound. ~. Note the variations in 7B as compared to 7 A. - .. 3 • hold. • o!!: • ..I" -tI hold....-I . dividing the octave into three equal parts... the augmented chord is shown to be constructed by stocktnq consecutive major 3rds.. In Step 3.like Em7 or Am?..:. 'l:' . ::: ._ - .. - ...... Cmaj7 .-I ... ~A ...." rather than the separate chords which they may be implying ...The process concerning the augmented chord is less-involved and allows for the root (A) of the substitution chord to be used. Example 7 (CD 12-14) Here is a spontaneous line based on Cmal7 that is completely diatonic . Now there Is no need to relate the chord to A7 because It is already related by its root and 3rd.... hold. we will be stepping directly up the major scale from the root to the major 7th (C D E F G A BL rather than employing arpeggios.

. " . • A .-1 . 3 . 3 I .. ~ ..... ~ --- .. X "I - ... .. ~ "I ~ - • p A Example 8 (CD 14) of this material.. ... as this line transposes through the different ~ ~ ~ .. .. 3 "I .......... ~ ~ ~ . a mental note of the "/.- • . .. . " n .. Example 9 octaves.. . (CD Unrelated to the last line comes this non-diatonic example..._ ... .. • ....... 'ft . A -~ - '" . ft :: ....~'*_(\......-I hold.. . . as the line falls from the maj7th (B) down to the 5th IGl with chromatic shown in the previous example ...~ 3 ...... . ~" .. . tJ -..! ..-1 - .._ ..... .. . . "'_.- .Il . ~ :: :.. ........ ~ ~ • • hold...:.. '" ......_ " - . ~ .. A firm grasp on transposing musical information Make strjngs and positions .ft ..p ..} • Passing tones • "I" _! 'loll .. A ..... '" . will ulti- Transposing the melodic ideo we are playing to other string groups and neck positions is essential to your musical understanding subtle changes in fingering mately improve your musicianship.... ~ . ." .. "Gravity" is at play here..Example 78: ~It ... .... IIO . - hold. continue to transpose each new line to other strings and positions as .... .. ! loll --. . as you exploit the entire instrument. ~It passing tones Bb and Ab in two -different From this point on. 15) - ...

'" -. ~~ b2 n 1 r .. .. . . . • ~7 116 II< '-'" . -~.n ~7 . • ....'ft • ~ ~ ~ .... ._ 'C:/ ~3 . .n" . " .... n r-III ~ ~ ~6 .... Pay dose attention to how nondiatonic notes are chosen and how they resolve to chord tones. ....w . .... n... . 'n'" . . '" "'""" ~~~~~ . .... '''' . .... r-I.. " " ...... ~~ ~..... ..n " .... . I I 1J 3 ... . . . ... In -'II ~ ~ . " " -5 _....".. .. a . e- .. ~ ..... .. '" n .... ! ~ -" ". ~ '(!:.... ~ ... ~6 '" .. ~ .... • ~ .. '9 ..Example 10 (CD 16) Next ore 0 variety of longer lines that span more than one octave. ... " .. .... 'n .. 5 . In.n w . w ...." '" '. -~ .. ... ' #11 " " .". 5 ..... ". .... . Pi A .... ... " '" w ... • . . ..w '" . w " .......... .~ '~. ".. . ... '" '" ...... ~ " " • . w .. . r-I~ .. p " ..". ' . .... r-III .. ow 5 . n. .

. the rhythmic placement of which can make or break a line. Cmaj9 • 1'-. hold- -.. • - • ._...Example 11 (CD chord. ending with a sweet Cmaj9 chord with a high 9th (0) on top in bar 2....fL . ... . ~ -- ~ ..:J . 3Em:ad--I e n • L G triad..again due to the "gravity" of the downward chromatic passing tones: Bb and Ab. " ~ " " - " g ..11. pay close att~ntion to where the non-chord tones resolve to chord tones. .. .. and an Em triad on beat 3. . For email. - I Example 13 (CD 19) This line has a "failing-dawn-stairs" quality to it . ..... W' . - . I7W' ~~-?j . I . ... .3 . which is found in two octaves here.. the 17) Thls line uses a very colorful interval called the Ill.. -- .:. . "..-I .. " - " " ...fL '... ~ '1... j..A .. which In jazz is a popular tension on a Mail # 11is FI. --"p p - ~ Example 12 (CD 18) The following arpeggio/line superimposes a G triad Ibeats 1 and 2)./ "... ...... ... A #11 #11 ! g - - . Once more...D.

.... . .. Example J6 (CD 22) Thisarpeggio/line Is derived from the Cmaj9 chord as shown in the frame below.... . Em 9 "/11 eJ r -----..... I -" ~ . ~ ._ • L .~ ~ 1= ~ ..'" - '" ~ r .. .. . hold. .1>.II ~ - ~ - . - ~ 3 . beginning on a low 5th (G). Cmaj9 Ii 2143 ""11 IIlJ 4J.. which adds up ta a C6 chord (bar 3).. u - :: :: Example 15 (CD 21) The #11 (F#)is highlighted again in this arpeggio/line which suggests Em9 (E G B D F#Jin bar 1.. . 'I" Do Poi ..the line shifts out of 2nd position. n .. landing on anA note. •Gmaj~------. followed by the interval of a 3rd. This relationship continues for six beats and ends in a scalewise descent from the 3rd (El.. . r " --I 4ths ___. . reaching as high as the 10th fret.. Bar 3 creates a structure based mostly on 4ths._ A .. ... .and GmaV (G B D F#) in bar 2... .. • f'..Example J4 (CD 20) Here is a phrase bUilt on a diatonic pattern using a C major scale..»." .. ... The pattern is based on the interval of a 2nd. . . L2ndJL2ndJL 3rd J 6 etc. .·1 r :. t :. .tI~ III ~ L 2nd JL 2ndJL 3rd ~ .. ~ . ~ -A . -.....» .. This is another idiomatic example of a diatonic line that should be transposed to other positions and other keys as it is a good springboard for single-line soloing on a major 7 chord.. After reaching the highest note (DJ.

_ ~9 3 Now the superimposition is further fleshed out with notes that strongly suggest the G7 altered chord. which we will delve deeper into shortIy. Example J9 (CD 25) . ~ ~({. The Band Ab occur more often (and in two octaves) as well as the introduction of the #5 (D#) of G7 From this point on. ....Example J7 (CD 23) Here is a very' strong example of C major scale usage. g ! ..-. . ~.... ~ ~ .ft .. . With G7 as the example.. the "altered sound" is characterized by the following possibilities: I Diatonic G7: Altered G7: G G 3 B B 5 D Db/D# b7 F F 9 n C b5/#5 A Ab/A# b9/#9 e# #11 of one bar. ... the "hint" is the Ab and B within close proximity of each other.. you may want to consider the possibility of their association with the V7 altered sound.. ~9 ft .. The line has a definite direction and identity with a variety of Intervallic skips between notes. ~~ r>.. - Example J8 (CD 24) This line hints at superimposing the V7 altered chord (G7alt.". - • .".". . ({... ... . . suggesting the b9 and motor 3rd of G7 (G B D F Ab). Its most identifiable characteristic is that it begins and ends on the major 3rd (E). . ¥ -"¥ -- . ~9 ... .....u..) I . .) .ln this case. #5 '" . .... (G7 rut) ~" &I (Cmaj7) ... \::J maj 3rd maj 3rd ~ p .. b.. ~..". finally The color tones (G7 altered) can be superimposed over Cmajl for the duration resolving to a Cmai? chord tone... when non-diatonic notes appear.. . . . -... r--.. Check out the diagram below...I" tJ .).

while "v7:b9" refers to Ab. 1:3 ' ~.. ....... The bracketed or circled notes and phrases will assist you in understanding their harmonic purpose in the line.f/L . • .... . .#9 ~9 I I.•" I I I . ... . . the 3rd of the emal7 chord.1 ~~. • . ..'1\ • r _ . . . - " ... .ft ... .~ ...... Pay close attention to non-diatonic notes... ..Example 20: Major Etude (CD 26) Thisexample pulls together all the principles we have been working on thus for and takes a few steps further in this study on improvising over a static mail chord.... "I: 3" refers to E. . V7: ~9 #9 1 ~7 0_~ . Look Into the use of pure diatonic lines and what makes them tick.. ~9 . What chord tones do they begin and end on'? What is the shape and range of the hne? Finally.. . .. As you will notice. 3 -.. (Cmaj7 throughout) ~:I!""'_" """""" eJ • <:» l: 3 '-'"'" . 3. . - ~ I I I ._ . the b9 of the G7 chord.. .ft .. =.ft . J. how is scolewlse movement balanced with skips? 2.._ • p . these llnes commonly resolve to the 5th (G) of the email chord... '1 . -... . . " .. . while V7 stands for G7 (altered). Are they used as ascending/descending passlng tones? Do they accent a chord-tone only? Or are they used in the context of a substitution of V7 altered over emal? as discussed? Telltale signs would be the rhythmic placement of the substitution In the bar and especially how the tension is bult and released lresolvedl to specihc chord tones.. For example.. .. I stands for email....... '9 _ -.\f-\ -h JC"\ • .. . . ..' .-. ...... - I: 3 - V7: ~9 .. ~ . ..~ (.~ ~. V7. Check out these points of Importance for study: 1." ~ ~ ~...f1L~ _---. .......

-I . . - A . ..~~. ... .._... .- -- -•ft . . A ! . fL~ fL_'. • I • b. • .""""'" r>.. .~ . A Oft V7:#5 ." -_ . ~" . . . .. - .. ! _ . .ft .& Oft ... p " .. .. . . '-"""' • ._ .. l..--. w _w .. * Non -diatonic. 3 ~9 1:5 . ....." . V7: #9 -------=---- #9 ~9 " #5 ~9 I: 5 .._. . ..... o0. ..1'._ " """"'II ~(¥i ~~ 3 h. ..} ........ - ~ ft .. ... .L 3 ...... A ! 4ths... A I: 3 - .. _I'. ... ..-- ... .. . ......- ..... .. V * I 1\ ...... .... 0'" • .ft ...... ft .Oft . . .. .ft - . 0....III I ~..I" -....w....~ ~ .I ~~~ J! ffj..• - ... .... .~ • 1 .... .~~I"\I'.... .. '" oft- ". .... ... '" .. ...n . - " #9 ~9 I: 5 ..-! • .. - .. 1 ~ I • ~ 3 . ....~ 3 ". . ....~ ~ft. p ...

. '" -. . ~ I .... .. .. ~# e ~ +- f: iR • ... . V7.. " .ft . .. _.. -I" ~ . -- ... ./. U ! - ft . '" W " ".. .-I ......-.... ... .. • . ~ _"w . - - . hold...... .. " '" .. -............... "'ft ft .. . .¥ -". \-. ~~~ . .~ ...n ... .fI. .......• X '.. • or _A _ft ! ." V ... .ft I ... • ~ • "3 .... ~ • fL_ • I 1ft .. '" . w .. ... .:0 • .J .. ¥ .ft .. ... .: . .. . .. ..... - _" a. I ..::/ ... & ft ... .-"~ .. ... 1* -...• . _'P _U ..- . V7: #5 b9 1: 5 ..: ~9 or _A • I ~:--~ "3 '. . .. b5 #9 b9 " #5 I: 1 b9 #5 #9 b9 t3 .. ... _ _ • ~ -". u \-..p ...It. .. '" - e- w .. . .... A ~ ...... . ._ p - .. -!~~~~~- .• J .t ..ft .a. I - 'W .. . V7: #9 ..

The two other minor scales that are used In this section are natural minor (1 2 b3 4 5 b6 b7) and melodic minor (1 2 b3 4 5 6 7)' and we will deal with them as they come up. ~ _ -<L " - This particular scale is known as harmonic minor and its intervallic spelling is: 1 2 b3 45 b6 7.~ • . . )!: . r _ ." eJ 4 .... Example 22 (CD 28) Thisarpeggio/line fills out the Cm7 sound up to the 9th (DJ....... continue to consider simplifying complex chords to free yourself of over thinking while Improvising...~...1":\1 ..... Play this 3rd position "grip" of Cm7 and consider what the chord suggests when played linearly.. Example 23 (co 29) Thisone uses the same chord tones. . - .. Example 21 (co 27) First warm up to the sharp contrast in sound and mood that minor chords suggest. Example 23A: ... ._ ~ - . ~ _ . po .- .._. . if played . '" - ~ ~. .. ~ _ .. ""tI" • • Cm7 13121 _l - __o_ -& u .the sum total becoming Cm9 as a "block" chord...Harmonic Families: Minor 7 As we move on to the rnlncr 7 family..ft . only it starts from the ~3 (E~)and also throws in the 4th (F) for a bit of tension.

. -- #5 113 b3 b9 1 b7 -A ~ .. Bar 1 begins as an ascending chromotlc idea with four notes played under a slur. """". ::: -" ::: ~ n - Example 24 (CD 30) This line makes use of downward chromatic passing tones that surround the Cm7 barre form... . -i. only harmonized with notes derived from the melodic minor scale. Example 25 (CD 31) As in the major chord section. . - • . b3 5 ..A~ and F#... ~ . I • ~~ I e :......./~ .. b3 -- " " ......:. Example 238: ... . V?alt em? I • '-'" .. j... ..:.. 6 etc. substituting the V7 altered sound over the static I (Cm7) chord is employed here in bar 2.Example 23B is the same line. '" b7 _'" (.... This "surroundlnq-ot-c-chord-tone" technique is common to the language of jazz improvisation and can be traced back to Baroque music.l . ----p ~ .. ... i'i ..fL • I.. c~ ..')~. c • ~. Chord tones are circled. '" l 1 '1 1 *" - " .... The idea ends on the 5th (GJ of the Cm7 chord. -"... . j.... 1:1.ija.--.. .. as it is surrounded by upper and lower neighbor tones .. ~ -..

./~ ~ ~ ·1 L • L- 1st octave _j 2nd octavt~ . I ......ft . p Example 28 (CD 34) Next is a descending line that Includes all notes from natural minor except the ers a full three-octave range.~ • ~ ~ ~ ~ ~ ~. • ft . Example 27 (co 33) Here again is the some principle of phrase extension through octave repetition.. this time via on ascending Cm9 arpeggio. .. '" -"- • ~ it.ft .. b.. /*' _J -" . _ ...Example 26 (CD 32) The purpose of this line Is to once again illustrate how a phrase can be lengthened by repeating a group of notes through two octaves or more.. ~~ 5 ~7 v l!:~~1"\1!: 1= 1= 1= t. ... . .. . ~ .I. .../ " • '* ~3 1 I .. .. . "". L 3rd octave - . . v r p '" ~ . ... b6 {Ab).. This one cov- _.l5 ~7 '" ... _d ..ft 5 ~7 9 ~3 -"'- 9 ~3 . . • 2nd octave I 1st octave I 3rd octave 'p ..... ~ " .

. A. w . • -'" (em?) 1 ..... Maj 3rd ft •ft .._ w ... .- . .. .. L._. 4 Note idea "..... Its construction is based on a four-note idea where each successive four-note group is a major 3rd away from the last note in the group.. -....... -..'_ -. ~.. - ..._/...... . - W ~ '" . .. . . I ~ ~ .. As usual..:.__j • L.__j L__J l__j '-------l . \ - w . .. . p W " -. ..~ ~~. ... .w n w .... study how non-diatonic notes are used in terms of beat placement and resolution. • .. - . " . ~ . J> W " . ~ ~ . "... . &I ~ ~ -.. _..··1 - I • - ... " ... 4ft ~ ..... - '" II - r~ .... .. W ~ ft " W .. w w ~ Example 30 (CD 36) Here we have one continuous line in eighth notes that arcs up and down with a balanced combination of scalewise motion and skips.ft . . P A ft ... This symmetrical occurrence takes the line pretty far "outside" before resolving to a C minor chord tone (Eb). . - ./.Example 29 (CD 35) This pattern is a stand-alone line that is not harmonically related to the other examples. .. ...w .. .. ......... . w n .. .

.. ...III t...: b7 1: ~ . ~O .III Db Triads ~. ~ ._ _!'- " Bb/C ·1 hold. Thinking of these triad shapes as their own entities will free you from thinking about "what modes/scales work over instead you can stay focused on Crn jhelf...I~ 1 • • "T y .. A .without asking why..... b9 CP'-' _!_ 3 ." because when playing lines... We will focus on the less analytical. the notes you are looking for will be found inslde those forms. ....... or guitaristically. ! .. Example 31 (iCD 37) Bar 2 of this example strongly suggest. Observe the basic chord forms you hold ond by rearranging or Inverting them across the neck. - - '_ .__.. ~ v7:b7 ..... by visualizing and playing shapes on the fingerboard that we know sound good ._. ~ II.. more guitaristic approach.. hoId·"······· ·1 hoId-········ .nT ._... X . _f.~ e ._... ft '" OJ..II . ~ 1 'I!I. p Eb/C .-.. discover their "puzzles. . .. . V7 altered sound before it resolves to em in bar 3..U . ~ of superimposing over Cm? Bb/C • T -& 3 ~ Il .. .J .sthe brocket and interval analysis below...a... - TI I. 3_ G Bbl triads for the purpose Bb TriadiC .. 1"'::\-.. " . 3 "T ! ~~ ._.---..~ ~ ..~ ~ ~ .. w ~ "~~. em" - Example 32 Here are (CD 38) Bb (Bb D F) and Eb (Eb . .- SuperImposing Malor rriads Over Minor The concept of superimpoSing one sound over another can be perceived of in two ways ~ from a theoretical point of view.... b3 1 :. . InvolVing modes and polychords. . ~ i!: • 11:...ft -:. ~ _ :::: .. #5 3 I 19 . . .~.... ....... . See ..... - .

.- 00 _ ••• -- a . tJ ~"* .. " ..... 3 b . V7: ib7 ' #5 3 1 #9 ~9 .. involving modes and polychords...101 • . . r.instead you can stay focused on em itself... ~ ... f: ~ ~!& e '" e hold-..J .:.. Thinking of these triad shapes as their own entitles will free you from thinking about "what modes/scales work over em" ... discover their "puzzles. .. . ! u '" :. . . . Superimposing Major rrlads Over Minor The concept of superimposing one sound over another can be perceived of in two ways ._4 .. ~3 3 ':T . more guitaristic approach..... .. ~ .. v ~: ~ .. Example 32 Here are (OD D 38) Bb (Bb Fl and Eb fEb 3 I""" G Bbl triads for the purpose of superimposing over em? BblC B~ TriadiC Bb Triads "j . . or guitaristically.. . .f: •••••••••• B~/C f'I ! -···-1 hold. hold.. . . .. 3 .._ ~ ~ .. . by visualizing and playing shapes on the fingerboard that we know sound good . 'I!" ..~ .. Observe the basic chord forms you hold and by reorronoIng or inverting them across the neck. :..." 'n. f:::\ ".... 0 - . A . .. - - . ..... " W .... ·V Eb/C 11 I. ~ w '" .._.~. f1 I • .from a theoretical point of view.. Example 31 (OD 37) Bar 2 of this example strongly suggests the V7 altered sound before It resolves to em in bar 3.------:---" .. ... the notes you are looking for will be found inside those forms...." because when plaYing lines..Without asking why.--I·· "I" -on... '" ~~ . " .. ~ I h . "/1 . We will focus on the less onolvncol. See bracket and interval analysis below . .

_~ .• .(Example 32 continued) E~ Triads . . ft"'- ..........'J . G7aJt ._ . . As with the "Malor Etude". • -~ .. . . 3 . dlaJt . 1 ... - V7:#5 -~ #9 ~9 .~I.. " .'" '" ' w ~ . ---- """"" tJ In In In I'll ~a :g: e. ~ tJ .....til I em7 ~ r ~ r ~~. .... . tJ ......--:"'-. . -.._ ¥ ..... ..... .. look to the annotations for study assistance. .. =---..--.. . . r ... ..~ . A w w ! .~ ~- 07(#5) . .I ..._. •~ ..0. ..... ....... ----:--.._ ~ " " G7aJt ..~@. lI' i' ... #5 #9 ~9 .... . . .. V7: ~5 i: I • ...... ". .. ..!...... ..... .e. .til I • ~I.~ Example 33: Minor Etude (CD 39) ThiSis a very succinct improvisation over a em7 to G7alt vamp that is as "easy to hear" as it is to analyze.. 07alt .. . iU ~' ." .-.~.. I w . v .... w .U .. w " • .. .- l.... ~ V7: 3 i: 5 .... . " ......-I 'w . 'w in . A ! ... .. . • _.... "" i: 5 .

.. ..... - .. • 4'" r . I ~ .ft ..... ~ ..I. ... . I""'"": _ • 1""'"":..- '" . . ..~ - . ! #5 b9 b7 i: b3 ..- ~ ......-..o000oi -..... . .. G7alt ~I I em7 b~ r • . rw ...__ ... ....(.- -" I • I"'_.r-: ~ G7alt em7 ---. '" ...~ . " • .... .. V7: #5 3 #9 b9 - ..........} . '" :. ... _"'- . _OL G7aJt "V" .... 3 ........... . .- ~~~ . ....- .. w --G7aJt '" ...-... r _~ I " " .._ ... .... . .. .u. . ~ - . . ~~em7 .......... G7alt I"""'"T I I • -:» ....... '" ~ ~ '" - - . ~ _ _ " . l..t:\ r». ... • . "" ~ & ~ ... . " ....n G7alt l .u... If-" tJW ~ ~ ~ '''').. ... .. .) .. -"-~ . . ".. ~ . .. em7 ! . A . . .. . d7alt -" L...G7alt -'A I em7 -.. . . " '" . .. I ! -.. ~ '" . . ....110 ~ !: .. - ~~ .... .. v G7aJt _" .- -i '" .. G7alt . ~. .... .. ~~.. .. _ ... . .."..... _A_ . I"""':_ ..... '3 "1---".... ... _ft ---.

'A . . - ...A 'A em1 01alt ~ . A "" em1 01alt i: 5 ~3 Freely (em7) 3 hold.. let us first deal with the static lunresolvingl dominant chord. -A A . . fro I 4!J -. A - .n .. . #5 3 '5 . ~ .. G7 is used. Example 34 (CD 40) The "G7 sound" is exemplified by this 3rd position voicing of a G 13 chord. Jazz has traditionally heightened this chord's importance ceptable... n 01a1t ~ .:: - .. ~b... by exploiting its every shade of color and by inventing infinite ways of working it into chord progressions that if done in Pop or many other styles. any note outside of -'It. In this case. p ..V . Because it does not resolve to some type of . which is Simply G71G 0 E F) and it can be B D F) with the added 13 (E).. 013 G7 scale (Mixolydian) considered to be the "complete sound" of G 13...~- ~ V1: 1 . there is no need to motivate it towards resolution by adding tenslons.""". n n • U' n U' :e: 17 e- u .LI. v . n 'A 'A .. ~~~1 E ~ ~ ~ ~ . would sound outlandish and unacBefore exploring the colors of the altered dominant chord..-I HarmonIc Families: Dominant 7 The Dominant 7th chord is the most crucial chord in all music.C chord. For the purpose of analysis... The scale that is used is G mixolydian IG ABC the scale can be thought of as non-diatonic.. i: 5 A - _ .

. v "- .. ._j L..... rzr-: olio L . ~~" - ~ .. ._j I I t -. . iii' '" . (CD 42) Thts is a purely diatonic..... v " v -- ~ A " ~ .. - .. '" ...~ . arcing shape of the lines. '" " " . . ._j L.... 13 i* .. 1t*11W ~ 3 . '" ... . olio L ....._ . ... . . .ft " . . 3rd 3rd p p 2nd 2nd 2nd 3rd ~ -Example 37 (CD ~ p "P_ - " 43) Here are a collection of phrases that outline the G7 sound with many twists and turns....which is the next subject...___." . -..~ .~~t:~ .. " " -fIL ~ -fIL __ . 2nd "- - ~ 3rd L____j L." ._j L.. rising-and-falling idea that combines the intervals of 3rds and 2nds. .. ...~ l' F~~~ __ 'ft . only it uniquely begins from the 13th (El and extends beyond three octaves and finally resolves on the 3rd {Bl.... .. '" - Example 36 "/. • . .- .. . ft ._ . • . v .._ .. ~Il :F~_~~~ ~~..Example 35 07 (CD 41) This line is similar to other descending lines we have been hearing. '" . .. Non-diatonic notes in this example are used as passing tones as opposed to altered dominant implications . _ '" 'w . . ....~ _ ....a.___. Notice the consistent eighth note rhythm and balanced....___._ ~ Lo_ • I ...ft .~ .. ...___.. ........ . __.~ ~~ ~ ~~~ ~~ -fILa-. ' - .... .. - '" .... .

. bring what you will to other dominant 7th chords in other keys... ~ • . 'p v .specifically for the purpose of transposition. ...... . . with chromatic passing tones 'and other non-diatonic notes for occasional color . Many neck positions are covered throughout. _D. . ... These ideas should not begin and end only for a G7 chord..... .. both in terms of their fingerings and intervallic relationship to the chord .".. ... .. ..... .. . . .. .-.. ..n " • n •v . -.... v ... ... . ." . ... . .. . .see circled interval identifications. ..... The maiority of the solo makesuse of G Mixolydian exclusively. -::» ... ... -.. -<T ~..a....~ -'" .. ~ '" . ...- . .. ... .::... . - .. .. .. ... . .. n - p . ioooi . .... " _il> ... and it would be useful to memorize phrases that you are attracted to. • ... -'II • ~ ... v _ .. .. .....til -~ . V - T-"- . ....: (I ~~ ~~~ .....~ • " v .... .T ~~~ ~~.. ~ .. .. .. . . '* ~ .. " -..n "I" ... " .. ~ -- . -" 3 Example 38: Static Dominant Etude (CD 44) Thisnext improvisation completely explores the sound of the G7 chord. - . ...

'".III po • ...:._ f'.....ft - 'ft ...~ . #5 '" .~ 1.. 3 -:..tC:\ ... "" - " .. ... . . .:.. ... 3 -....j • ~·trIt~ .1 -... po .......... .. ..... ... . ... . .ft .t»::::.....4. .... . ....I'll -. ........ ~ . b7 ft . .. _.. ! ... . ..~ .... ~~ -4 15 ....._ .-.- .. ...- . ..... ~ -'" . .- .... m~~ ..- .~ .... ...ft ...... ..... . '" ~ ....J _ .." .. .. • . .. 3 .....ft .. .. ... . . ... . ..... . . ~13 " po n . .. ... .w . .. #11 'ft _d'... """"~ ~eJ ~~= .'" .~..... _.... '" . - _... H ....... .~..~_L ._ ~ . .. po -" .. . ."'.... . .0_ ~ ~~ ... . . ..... ft ... . ~~~ ~~...ft _.~ ... =~.. ... . ".. ..._ . '. ... ..ft ... ._ I . . _A ... . .. ... bs ~ ..~ ..:.: Example 38: (07 throughout) "11 eJ ~~~ t: ~. #11 " -'" ........... . ... .. ..~~-. ... ..- ~ . .~ ft' ... ... . ..II> ~-. po 3 .. ~ • A""""\. " ..• '1._ . . . -'" ~7 .. ... . 'ft .

.r .._ ft ~. ..... #9 b9 ~9 ~9 #11 #9 ~13 bs "Iii iT . ~ V .. ! - . ["jJI ..... :J . . . r L.. .. ...- 'iT • I .. _ -. -.......'" - -. ._ .............. .. .... .. .~'" I'l"I ~ ~ ~ -~ ~ t: e~.... __ " ft .... ...- . . • I ___ r- _... . . w ~ ..n" .. L • w -. ... "..::.. -. ft . "01 . --P-..... . . .._..... .... A. . . .... _- . ...--. ..../ ~ ~ _ ...*3 .~~_JI.. D A. g - .- #11 . V . . ... V .. ~13 ~5 u ... -= ~........Jj.._:... " .~..... ft" ...--.... :f!:.- .. .

_ II " . " ... ---._ L .. r-. ~ • --"- ::or: -.. ..._ ...... .Do .. """""'" r ~A -... 3 r-...Ij ~ rn liA_~.i -.- ~9 ._ ~_ 10_ . ..._..A .... __.._ _'"- •• ~~~E .. J ttf:...._ ._ ... .ft _..-. HI _.- - .._.._ ._.. I ... .Ij ~ " 'I • ~ ..- _" - . .. 1ft ~~ t.... #11 ~13 _"-"- - .". ~ ~ . -"- ....fI. - ...... . .. - • • . s . - .. fL f:._ -"- - . "..... - .II r-. _.. A -"- • ...... --""- _.._ ....-.. ~ 1iit~1 ...I:. _.-<L ... - . _D .~ r-..~ 3 ... "3 . ...._ .... ....J r ~ .- .._ ~ ~ . ... _...._ . . .. ........- - - 'A '-".......~ ..__ ...._ .... _a_ A 3 ~ _- _..~ ~ .... .... - -" v --"'- _ . .. -"- #9 ~ ~9 _._ v n __. - "" - - ". _. ._ _D ._ ... ..... .. .. ~13 -=- - - -=- . ~ _. - - "''' . .. r_ ...... .. .._... g r-._ .._ Q_ .... - _"..

.. .' ~ .- .A ! A g ':' ~ -- .. When the altered dominant chord is involved. .'11 .... These four possibilities are often found in numerous combinations.._.. the altered dominant has the "altered scale....• ~~U~ ... A.........-. While the unoltered dominant chord calls for the rnlxolydlon scale..... ~ 3 '11 t: ~t:~ 'f:..- .~ . They are included here due to the "solo gUitar" situation. 'f:.... The tensions are the b5/15 and bQ/19.... '0' ~ '0' '0' I\'it' ~ . ....... .I ~- .... .--..9fr 21344 ... Example 39 (co 4S) Each of these volcings Include the low G root on the 6th string ..:: -.. ~ .. ... ._ ~ft ~~~ ~ I' ~_ ... . .. ... .ft .ft ._ ... "altered" refers to a specific group of notes or tensions that when placed on a dominant 7th chord create a very strong motivation towards resolution.__:.. Ii 2 341 G7(#51#9) .. ~~~ r--: ....-.which is certainly not necessary to the effect of the chord. ~t:~ . you may want to leave out the roots in order jo allow yourself more maneuverability. .." Let's check out a few chord voiclngs for the altered dominant sound...... ~ II Oft 'J! •w Oft •• .- ~""P ... The chords are analyzed here in terms of chord-tones and tensions present. When playing with a bassist or keyboard player. G7(~51#9) tbr' T 1224 G7(#5/~9) 3r T 11B 1I G13(b9) . it Is necessary to alter our lines to fit that chord." . .... . ._ . \.ft ft ? . .._.....:t& '0' lM. . .. - .'" . \ ~ ... ~~ f:: ~~...: -y --...: .. ft .: ....... - . ~ . Altered DomInant LInes In jazz..ft ... .. • ft 'ft - - . . ~ .!!"v"~~ '2~' ~9 ~7 ~' 4" ft' '" p' ...~ __ . '" - --p . iRr T 1243 G13(~5) r .ft . t!: 'f:. .

. -.Example 40 (CD 46) Here is a two-octave altered scale. ~' #9 b9 ... #5 ~ " . u [.-_ •• -·-1 ...••. " #9 b9 ~3 . When working the altered scale out in other positions. G7alt . ..... It would be helpful to transpose this example to other keys by Simply moving it up to a higher fret. hold.. -... ~v ...... ~~ . .. ... recognize the lowest root possible and relate all scale degrees against it....e: 1m" Ifu' f& " " ~ n iO... Notice that whenever possible.oft "' . . ... the low root is found on the 3rd fret. G altered scale (2nd position) G altered scale (8th position) _ 00 . .. " - ft • '" - ..... .. III #5 . b \ ... - . In this case..... the #3 and b7 are held to emphasize the "complete altered dominant sound. Always keep track of the intervals in relation to the roof... - etc.." It is very important to recognize each and every degree of the altered scale in respect to its relationship to the root of the dominant chord. . 6th string... ~ Example 4J (CD 47) Thisexample serves as a perfect working model of strong altered scale lines limited to 3rd position.. '" .. ~ ~ - . See the 8th position version of the G altered scale as an example.- " w " - . p P Lo- . . _..

. (¥) ~ ~ .A 1 .. • .. 'U n "0' J___J L-. ~ .....p _ .. . ~... - ... What we are about to do takes this concept a step further..-- - A 'he DIminished Scale For Altered DomInant Chords Example 43 Earlier we worked with the diminished chord "shape" superimposed over a dominant 7th chord.. ...._ ... their shape and fingerings are similar. however.- #9 "._Iii '9 #4 #11 5 D F b7 13 G Diminished HalfIWhole step ... Each one is in a different posJtion and starts on different chord tones.f& H W etc. .Example 42 (co 48) These three lines are related in an interesting way.. A .-J L__j L__j ~ 1m" W H ~ . H G W H W H W H E 6 Ab b2 Bb b3 B 3 C' b9 . we will deal with the half/whole sequence starting on G.. 3 f-:j:: '~~ i!: ~ • ~~ 3 . Diminished whole/half step: W H W H H W H H W H Diminished half/whole step: H W W W For this study.- - A ... #9 -"I" .. '" ....v '- ~ . It should be understood that the diminished scale is an eightnote symmetrical organization of whole steps and half steps. - - - - A '" .. as we superimpose the entire diminished scale over the altered dominant chord.

. dating back to the Bebop period. ...... . I'" _.. .. ..... ...... Its symmetrical design allows for infinite pattern possibilities that have long been part of the jazz vernacular.... ~¥ .... 50) 4 . "I" ! A y i ~6 . . _ ... ~A . ~" .... .. this scale would ss '3 #4 and b7 Because of the q6 (or q 13)espe- be a better choice for dominant chords that have the b9/13 combination _ like the 3rd chord in Example 39.... .. fL ~ M- ~ ~ ~ . w _" w . . '" .Example 44 (CD 49) Compared to the altered scale.~.... .. .. •n . . ~ p.. . . .. The following are based on the G diminished half/whole step scale._ _. . .. fL ~ ~~~fL~~ ~ ~~ ~...... .... w '" w '" Example 45 (co Here pre G diminished half/whole step scale ideas running through all six strings. while the remainder have Important differences: The diminished scale has a q5 and ~6 that the altered scale does not have....... ~5 . JIl II. " .. .4 . '" .... .....<= .. a ~ ~ ~~ ~ ~~.... " '" . 'w .... . _ ... ~ ~ . _"w 1> v • . . The common degrees are 1 b2 cially. ..._ _. The final three bars are again inspired by Bebop patterns. .. ~6 ... it's clear that the first five scale degrees are identical. .. - " . ~ ¥ • . ~ ~ .... ". w ~ • ~ 3 ... '''' ...... ~~ ~ r. - . .. if> ~fL &I ~5 ..n ~ ~ ~ ~ ~ ce> ~~ ......... 10 . ... - p . . . ..... The fjrst two bars of this G diminished phrase are found in the form of a useful arpeggio. ..._ - ~ .. • .. .. .

. Once you can recognize the Db7 shapes over a G7 chord.Tone Substitution For Altered Dominant Chords In the same manner that we superimposed major triads over minor chords.The Trl.. "I" eJ Dbl.. Notice which Intervals occur when comparing Db7 against G7: G7: G 1 Db7: B 3 D 5 b5 Db F b7 b7 A 9 B 3 Cb (BJ bq F Ab Notice that the 3rd and 7th of G7 (the two most Important notes of a dominant 7th chord) are also contained within the Db7 !reversed as the 7th and 3rdl... ~ b....b. The tri-tone above G is Db.... the lowered 5th.-I " ...... G diminished scale. G altered scale and G diminished scale ideas together in . .. .. D7 5 ..... ....D "' ... If> ..... __ 5 -"'" ..... See circled notations for Db7 notes. y >!L I y '" - " ............ ... A trHone Is on interval of a diminished fifth (three whole steps).. .--I . ~ -- '" " .... • . ...... a similar concept applies here with regard to the altered dominant chord........ playing lines found within them. 3 ---r G altered scale._ - .... The chord frames show the common tones between G7 and Db7 Example 46 (CD 51) Here the Db7 can be found in this line that extends up to 7th position as it reaches for the high Db in bar 2... - ..... - ~ ... I 1"::\.... ~ ij) .. .. balanced phrases.¥- ¥~ ...... D~7: 5 * ~7 1 3 ~ ~ *B =C~. A I • b-..-. you will begin to expand beyond shapes.. - -. -"'- - '" y .... Placing a Db7 chord (Db F Ab Cb) over the G7 altered chord creates a sound that Is very much a part of the jazz language... Example 47 (CD 52) One lost example that again melds two tasteful.-:=--............I~ .. The trHone substitution is achieved by bUilding a dominant 7th chord from the lowered 5th degree of the dominant chord in question.

.. it may be best to "look at the big picture" and consider haw theii chord (Dm7l -and for all intents and purposes.Il '" F~~~~~..... .. 1.... " " . or.. ll: on altered dominant a halfsfepabove the V.-I .. scale. .-. .. .n..--I .~ .. Db9/... . ! . etc. . " . ! g . "I'" .~ '" scale. . . .... "1"" ! 07 Cmaj7 • I .. ~I!.a. . . .. ..1.. 1. . the material we have been working with concerning the V chord can be heard starting at the Am7 all the way through to the resolution at the I chord...- .. .. ..~ .·1 . the vi chord as weI! are lumped into one big V chord (G7l.. '" I.... ..!~ ~fl • 'f.... . .. '" '" ~. beat placement of tensions and resolutions.~ '" .. we are going to study how to connect these chords as they constantly repeat in a loop. u " ... . ..~ . In the big picture.... o altered . Although examining how each line relates to each chord can be advantageous. In this etude... . another altered dominant substituting for the expected 'Om? and finally a u-V (Dm7b5 . " . . The "cadenza" section af the end is made up of arpeggios that are dearly laying out the chords they represent.inal resolution to Cmail is extended by adding Ab l3/. ..... Analyze all notes with occtdentols as usual: chord-tonelnon-chord-tone..~.Ill ... <:r • ..G7 alteredl to CmaV Cmaj7 ~I!. fl....... ."'" " v ._ ...!*~.. The f. . Om7 h . " Example 48: Turnaround Etude (CD 53) The I vi ii V chord progression is the foundation of many jazz chord progressions and is often used as a means to "turn the phrase around" and begin anew. o diminished ....... .... patterns. ~ . . '.... .•. . " " *' " ... Db7 •• ... n "'-11. superimpositions. arpeggios. .. .

. ~" - - _z " " '" . r ___"._ -._._ ... f*__:' ._.. .. . '" Cmaj7 . ~b... . ft L _ ft " ~ V P A r " r .... . - " w - 1...I. .. P -..... .. ~ II!: b. " D7 ... '7 '7 4ft ....... I .._ _L_"" .. ~ ... ~ 3 .. 3 -._. . . ... " . -"'- - ft -"'-- " ft -W ft V Dm7 ...".. . •P ...I/:_. . P .. ft . ~ ~ .¥. -'*i. .._... G7 Cmaj7 eJ .. . " ..~ t: . ft ::.._... . I I J Crnaj? .fi>.. ft ~ ~ . ... .. .._ .. " .....Dm? ..... ..tIll 3_ .... .. - ~ Dm7 ". - ._ . .... .~_ __. ft • ft ¥ V ~ " " .~.. w II!' . . .3 . 3 . ....... .."... W .. . .I".. !. eJ .. . . " .. II: Cmaj? "'v _" P 3 "I. OW _... ...~ ~~~ b... ~ • .... ..../~ ~ ~ eJ 'P ....II Dm? """"'" ... w " . 0- --"- - _... ~ . ~~ ~~ ~~_.. ._ __L>_ .. j!: ~ ~ t: ~ ~ "-'~ 'ft ..

...... -- " _" _"- t.. .. ... " .. ~ Dm7 1 .".. . lOll ... .". ·n· ..... . ~... .. - .... Dm7 """'.. fL . '" -" '" Cmaj7 """'.. I ¥ " . .. •• 1 . ..".. " . ~ ~~.... ..--.. . ~~: ..U. " ... .. ..:. w .~ " ....J ... . ..a.. I -~ .. -" " . ..~ ~~~~~ ..tr ... .: . " '" ~ " . ... ... ~ ... .. ... . ......... " ... ... Cmaj7 . .. .. . _"O- " ...-. - . w .... "'... n. - . -". . " po . .... " .... 'f!:.. tJ ... ". ...." . " -~. . -. i.. .. . ......... '" . 110 ----. . .." . _ ...... ......b.Cmaj7 """'. .. tJ " ... . .._....- l' I I _l ......". " '" • ~.-'" .. Dm7 !:_. "'--" ~ .. " . n ..J ~ ~ 11.. .. ..... ~ i! _1f/I>_ • i! ~~~~..... -_....... ... ~ Cmaj7 .. ..\... .. .. . ..-"'- ~....". . .. ... w . . .~ . . . .....- . .. --- . '" . 3 07 "". ... "" r».../i - . q~... w .. #1 P.. :.J. . • w .. ! A ... .. ...".. ..... " ... " . A .101 ... :w-... . " ..n ~ <> ~t:~ ''''' ..".... . i.. 'w Cmaj7 Dm7 .... . . .. tJ ffi. ..a.» . ... ft • . ..

_ _ 0_ .. _ ~ ..- ._ ...~.. • ~ _-- ...Dm? """"'~ . _ . ~ _ .. ...n ... "'" 1_.._ ~ - ~~ w • .. " r .. ... ." '" Cmaj7 1 I. .. ... _ ~T I~J .... _ 1 -w ~ n .. ._ . .fL~ ""' ....•••••...fL - 07 ___ _.r '" . .._ •• _ •••••• __.~-. . ....••._ _ . .r"\.. ..._.. ....:.... .• .. .... .. '" ...fIL _ I .. .._ ••• _••••. _ 'w -_ ow _ ow _ ~ Om7 ••• __ . 'I~ -3 w . ...u. " _ .. .. 6 Cmaj7 :---. ... • . _ .ft 44 .-~ .. _ - n • ..• __ .. • " -1* ~ ..._... _ II ....fL ~ 3 .. " . ~ w - . Dm7 "t" ~111-~ -. .. ...ut\.fL __ _ . . A p . L -._ (""it ____ . ~ "t" ~ __~... J . .....- ~ --"- - ~ _ . . ....... .. 8va •.~ 11-..._.._ ~ Dm? Cmaj? " _.. Cmaj7 .• _... ..... .'.. . A P L> . " "'- _ . ..- .•• "'" • ..._. _.. ... . _..... -"- _ . - . - _... - ....fL.. 07 -. . .. . .._ " ....- .- . ~ . _ .. . '" ~ ...... .A ...... .ft in . r . Cmaj7 .••• . ._ ••••.

~~.. .. Dm7 -:ff1I -- ~1....u I:.. ... p ..." ~ --r... # ...-d L J... ·~~M~~.a.. _._ . . ~ . "'I~. _... '" H __~ . ._ - Cmaj 7 .... . .- . t:\ 3 ... .. "3 "3 ....... . . 1 Dm7 Cmaj7 1 • ....'" ~ ... .--. ..a.... ..~ " " ~ ~. Dm7 07 .. ... Cmaj7 . ~""'I:- .. ..a...... .1 .._ .."... " . ..:17 . " - ...1 r ... .. _Jr.....n _ ~ '" "ft- ... .. -..." l_3-::: . ...._ --rp I 1..-t" .~.. .u ...... ..._ ..._ .. r---3..... . " p .. . .. ~ . •• •• ~ • _..Dm7 07 Cmaj7 .. . '"'- p r .... - ~ Dm7 ... ~.... . " .- .. ... ~ _.. I ..

Ab 13(#11)

Db9{#11)
~

,......", ... b:;t."

..

---"!!!II t

.~~. ~~

Ab 13(#11) !!!!....

~

,,"

.

~

....
..
.,. .. .. '" ...... "

.~

... ...
! D.

..
...

..

~

.. ..
...

..

'" "

..

u

"

'"

., .,

'"

"

.,,,

Ob9(#1l)
""""""" t

.~~.I!!!!I...
..
.

[)9(# ll)

i""'"Ol

tJ ,,-

~. -"
..

..-oI!!!S

oII:.~_.
..

i~~

"

.. ..
~

..-oI!!!S

_:

"

..
I

3

~'1-

'''' 'a
I

!

.,

u

iooi

.....

.L"'.-'"

.. ..... .. '" '"

.. ... ..

..

I!L ..

"

.. .. ~ .. .. - ..
.;

"~

G7alt

"""'"

..
~

~ __,

.. -" ..... ., '" .. .. ..
.,

. ..~

.1..11.

~

lI,JJ11

~
I

~

,._

...

:;
hold·--·---I

If!

~

u

.. .. .. ., -.

..

..

"

-

.. '"

"'.

.. ..

'"

-. "-... ~

-

..

~ ."

-

Cmaj7

-'Ii

_,
3
I""""T

=:Iiiiii

• fL~ ~.

~ _.'1i.,

... ...

~._./

...
Do

..... ... ..

~

.. .. ,.('.. .. _.. ~ ...'" .. .... '"
'

-

...

.. ...........
-

,

..
.t.I' ... ~

Cmaj9

qy

..
.. ..

12·

· · ·
J

'"

.. .. ..

hold- ••••••

..

..

:;

... ..
In

....

'"

..

"

..

'"

~.

Scales For Altered DomInant rurnarounds
Example 49
....-;
E altered

(CD

54)

These are "so mpie"

fingerings for the Iollowlnq altered dominant chords:
A altered

D altered

G altered

I

n

.In:r
"
v

&~

...

...

...

..

...
.... ...
A

!

..

p

~

v v

"

"

..

'"

n

'"

..

"

..
v v

'"

W

..

Example 50: Altered Dominant Turnaround Etude

(CD

55)

The turnaround we will be working with here is related to the I vi ll V of the lost example. However, in this case, all of the chords are altered dominant types and the I chord is replaced by a III (E7j9/# 11)chord. Each chord employs the altered scale from their respective roots: E altered, 0 altered and G altered, A few observations concerning this example:

1. The harmonic content of the lines adheres rather strictly to the scales as shown In Example 49, so analyzing them should be easy.
2. Unlike the prior turnaround etude (I vi jj Vl, chords are approached on on Individual basis, with a clear-cut scale-per-chord relationship, Chords are never "lumped together," which makes connecting them more challenging.

3. The rhythm of these lines is varied ond dectdedly freer than all other examples thus for. There exists a good amount of "double-time" - playing sixteenth notes instead af the usual eighths thereby packing more tensions per beat.
E7alt

"""'Ii
eJ

..

A7alt .--3__'

.
~

...J-,
3

n7a1t
1.-

1-""

."*.. '"
'"

"

-

-G7alt

- ..
p

...

..

"

...

..

~
~ ft

'"
v

""""1\
eJ

_r::_3_'

.....-!
3

..
'"

~
3

L

-'"

ft11-

3

.-.!!!!II

ft

.

..
'

....

i*~

..

.. ,.J.,...". ..

"

""
v .,

.. " ..

..
v "

..

"

-

..

--

A

..

"" " ""
w v v
V

D7aJt

.II

I

..
v

---A

~

'"
V

"

G7alt

-D7alt

,.,..-~.

~

"

- -=
.....

,.:

.......
p

'"
V

~

..

.. -

'"

~.

..

v ___

--

.-

'"
G7a1t

p

.. ..

...
_

_.III

..
AP

-..

~

n_~~~~~fI-

~r..,
J

3 I"IIIiiiI iiii;I{

l

1"".'""1.

....4J

~
I J!!!IS
3

,. '---""
A A

p

...

p'

'"

;,

-

'"

V

..

ft
-

..
-

..
V

__.., "
V

'"

.. ..

-

...

..

__..,

n7alt
_.IA~

..,
.,
Ii


j

• -h' •
~

~

;~. #~#
3-

~

3

1" 3

.~

..

n

;.

..

~
A

,,.

p'

'"

..

.....-...
r
W

~

..

-- -

"
n n

-

'"

.. " .. ---

.. -

n

~

D7alt

07alt

... .II.... ~ ~ . . ~ ~~ ~ ~ -. " v "7 07alt ~" • ..I" ~ . .n7alt .. ~ . ....w '" 4" .--. ......II '" ~~ ~~--J T"""'. ~ ~ n '" ._ ...:.:IF" Iiiii...- ... IJ r ::3~ .. 1=:1 ..:...~ . ~ !!!!!! 3 p n ..~. • .. ~ .r -I .- .-T""" I~"~ __ L. '" 'n -. E 7alt • I-J - ...- 4:. ...... . " - -- - II> ..

ConcernIng Chord-Melody Style
1. Generally, it is best to keep the melody on the top three strings. This way, your harmonization beneath allows (access to more strings In on appropriate range of the instrument. VOicing the melody of a song lower than the G !3rd string) will force you to place chord tones above the melody - which will tend to obscure and lessen its strength and importance. Playing a melody In a middle-to-low register of the guitar tends not to "speak" as well. 2. The process of harmonizing a melody with chords can be thought of as "adding color ... Once you know what family (Maior; Minor, Dominant) you are using to harmonize with, add whatever degree of color you heor at a given moment. As the colors become bolder, the more you depart from the expected. Rather than thinking of this departure as" re- harmon tzotlon." try a pproaching it as a colorful harmonization. 3. Because melody alone very often trnohes chords, it is not necessary to go to great pains and work very hard to accompany every melody note with a chord. There is no sense in "killing yourself for no reason." Even a ve ry rhythmi co Ily short chord can stay In the Ii stene r's eo run til the next harmonic change arises. You may choose to play more chords per bar for certain reasons, but always be aware that the melody needs to "breathe" and over-harmonizing can suffocate its impact. 4. Adding "voice movement" to your chords will add impetus and interest to your music. What "voice movement" refers to Is when one Of more chord tones move - usually by steps, diatonic or chromatic - to resolvlnq chord tones in the next chord. This con occur while the melody and stationary chord tones are also sounding, or in between them as "filler. When employed well, it can give the Illusion of a greot deal more going on than there actually is..
n

5. "Grips" (chord forms) tend to dictate melody, and the most natural reaction to improvising chord-melody style is to Simplify the infinite possibili.tlesand play only what you hear and what falls right in the vicinity of the grip. "What you are looking for is right around your fingers. " 6. Remember: "The object of chord-melody Is to make music, not hard work; you play the guitor; not the other way oro un d ." .

53

@
"/11

CD

Lyrics by OSCAR HAMMERSTEIN Music by JEROME KERN Freely
B~m7
I

II

~.

~.

.., n

...
"

Abrnaj 7

f
==-i
~

D~maj 7 r

••••

• :f!:
I

r-

3------,

--


~

.
r

hold until change

~
"

E

:i

I

;;:
y

-

.,

t>

'"

""

"/11

I

..,

--

Dm7

07

Cmaj 7 ~

~

.
~

r~

J
b;1I
~

..
y

.
3

.,
y

, --.._.....-._ =------...

... ... ~
! A

I~'

.. -

..

n

..

-

· • "" ·
I

\-!

..

~.

-

""/11' J

_I

..
n
y

1

1

~

.---.,

.r
3

..
r

,'" -

-3

:;

...
.a. ....
C
I

,-,

...

-PUBLISHING,

..
'"
INC.

I 4

1

1

..
A


© 1939 (Renewed) POLYGRAM INTERNATIONAL All Rights Reserved

-

'"
y

I

I

E~maj7(#5) ,_,I"
I

Abma] 7

Am7
3


i

~

3

3

_.,,--,.
"I-

F
i
'>


.,.
....
.11

..
.,
-"-


_'>_

.,
~

~

D

-

-

~

-

.

-

..

~

~

.,

~

.,

-

..

.n

Am7

~

A

.,

Gmaj 7

"""~

.,.

I

r

I

.110

-J
ft

E7(#9)

.rQ
I I I

r.\

q~ ~

~

~~

~.
-

~
A

qii

....
.11

!

ft

n

,
9

._
In

IiiII

.. -

~

Gmaj7 Cmaj7

,
a,
Jj.

_.
,n

..

,

-..
5

.. -

"
Bbrnaj 7

...-

.. ,

Fmaj7

""""

I

¥ ..

.-oo!!!!!

_'

I
l'

!:

¥
'L J

*~'1.

.,.
.11

_p

..

I

.. .. .. -

.

..
"
n

~I

n

Ebrnaj 7

~
11


I

r

.. ..
Gmaj7

n
n

~ '"

-

"

a

.. ..
'"

...
"

,_,Ill

~

Jj.

..
.)

~

~iit ~. •
I'

F#m 7(~5) >

,-...


..
;::

i
.,

L--3__.J .., ...

-

"

..

-- ~

3

!!EiEi

.,.
3
n

...
;:: :.;

'"

-

n

- .. .,

.

...J :::. n " ..".......".. .. ... In tempo Abrnaj 7(#5fC Dbrnaj 7 D~m7 I I L~ ~ i=- r-/... " v r n v '" - . . . ~ q-.../... -n . .. v v . . ~ A g .. . . ! A g . v B~m7 . ..-.... I ~ Abrnaj 7 -~.. " " B~m7 ~ 1 "'_ v ~ -"'- ....~ ~ . - .... :. 'v.v -''' I ~ ...r-/" ~ _ I 4:3 I """"'l -- .. a a_ v .. " v n . ... n :.. .... v .. Bdim 7 r-/i I • ..... I....-.....-..-. " v ~ v n ... ~ .- I""- ~ . v ~ C7 ~ Melody: Fm7 • ~ .. v • '" v -" v '" v _n_ v v " n v x n - . ." .~ ... .I I • • [ n v r'" " v ..v v .. . - . . ...J I I~ • • J e ~ ~ v . . In _I--.. v " on ... -.. n v .. ~ ~..:-.. '" v q:i :. v ~ ~ " v ~~ I:::: :: "- on .. I • I ~. . _"v n V v " V n v v " _n v v " "v v " o· n Abrnaj 7 . . I ~ ~ . . - ... ... _u A. r v Dbmaj 7 ~ 07 • . v . ~ ..

.... '" - _.~" liT emaj7 I em7 "I-_____.... .... '" .. .. r ~ T g .- ft ~ " v ~ ~ _. .} I . ~ .... ~ . v -= ... v - ~~ . fI- .~ ... . . .fI.. " .. -v- Abmaj 7 ~ ..m .... -v- r g . ~ - - ..- b.....~ " --...... --. .... i·.fI- !.... . -'" Am7 ~" I n7 Gmaj7 «J- -. u . g "'r ~~~~fI- . Ji.. ~ . . . .'" . 7IIT ~. 7 - . 4f ... . ... I: l ft ~ . 7 ..- D7 _.~ " "'r- Am7 I Gmaj7 ~ ~ ~ fl- b.~ ~ ~ ~ '" Fm7 I . .../~ I r F#m 7(b5) Emaj7 l I t:J " - "I" II. ~ 'v - ~ ~ . ~ ~~~~fI- ~ ~ u . . - -. . ft - ... - .fI. B~7 ~ ...-. • a .. ..-.- ~ '" --- ... Ji. a -:- - -u --:-n u .

.--.......-.. ...ri...._ .... _" y ~ -'" y .. .~..-111 tJ I _. "- * • -::--.~ q~ i:..." ...._ ... y . .. .....---. ~ -. n ........ .. - ..._.. I . ~---~ .... Jr ~~~ r-.. ~ ~...._ ~~ ~ I- ~!: ~. B~m7 '-/11 II 1 ~--- r:.... ..~... 1- q .. ~ • ~ -. '" ." .. .. II C7(#5) I 011:..y I... Fm7 ~ 1!' In B~m7 ~ 1"'- ~ _. C7 I . '" " y '" y " y In .... -- ~ -...' r-3----J !Je.... . y ......... . tJ' 1 .. 3 r A B~m7 ( r 3 _n_ y -- 'T' _ft g ! A ~ " " y . y .__ r t..... To Coda-@- ... -~ y " - -"-y e: . -I> -~ ~_ F ... y * A ~ sounds Solo: at pull-off..~ ~ . y .. " y " r>: y r>: y y "" "'-' ... r>: y 1..'~ u~-~ Jr /....... ... --- D~maj7 D~m7 Bdim7 .Ij "...._. _ A _1> '1 .:... 3 1...r' .... .~. e Abrna] 7 ~I II ' I .y .. .

- -.. ._ • ~ ~~ ~ ... .... • q. _"I ji .. "" _.'" -in n ~ ~ " . Ebrnaj 7 r-/fl . . .. ~ " "~ ----.~ ~ • .!: ~ . ~ _ ~ .. -~.. 'n In " 'I'\..y .. " " " " n y . L--- b... ~ '" .. ~ n ~ " '" . " r Cmaj7 > . ~ ..J .. . _. -- ~ '''' ... ~ n - .. _ft lOt ! A ... Gmaj7 ~/I I . " n " " .._ .. • ~.. ..--. - A .J . I v Am7 ~ ~ ~ ~ t. " ... I It....n ..r-/fl I ~ ~~ .../fl t.... Abrnaj 7 .. Abrnaj 7 ~~ ~ E.....n Am7 ... b• L--3 ~ . Jl • ".. n -~. .-... &.~ .... .- """'fI I ..J I ~ ..ft .... ..- .. - .- .. n Nmaj7 e- ._ .. _"I '" '" ..~ '" ~ .

..: - -w ......../'" I . .. .ll ~ A . . ~ ~ ..~ Emaj 7 C7(#5) ~ I I ..:I 3 .. .. b. F#m7 ...~n '" . .. I * . Pm7 ~~ .' ... T ....- --. . ... ... .. .....- Bpm7 ~ ~ F= ~ ~ ¥~...~ . . .. ~ ... .D7 _.... - *Hammer-on string wI out picking. ~aj7 ~ ~ ~ ¥. r Bdim7 ... ...ll . g .... ~ -~~ ...b... . ~ .....". . E~7 ~ ~ .... ~ ¥- --. -~~ . . q... po --::- - .. po ... ... ~ 3 --...~ ~ ~ ~~ q.. .. ._ straight 8th's_J . g _.. -~ -:- - .. .... ~ ~ .. A Dbmaj 7 ... ... . Abmaj 7 . ../~ I B7 ~ • jI'l .. -./j I ....._/A I .".. . ~ . g .. . ..".. ~..... ~ '" ...:I ~ 3 -----3 ../j I JI... .u ~~ ~ .. .. . .. .- - D~m7 - -~ . -.. .... ~ "" u ~ . lA.~I _. ..... .

..n"" u -"----"-"- •• v .. ..- ....ft . D~maj7 -n f'.n n Bbmaj 7 . n ./._ ...~ -_ - 3 ~ " .n . -.I." on '" " -e . "'~~~"~... n e ......_ - _d .n .. I ... e-"""'-""'e- B~m7 ...... ..... -: _ii .Abmaj 7 Gm 7(~5) Fm7 ""'11.-.... ...it ..~.- . '" ..e .. . "_. l... ~ - r -....._ Dm 7(~5) _... -'" --"- - . I G7(#5) .."'~.. " .." ..~~~"" ".... . A ....... . ..-. W r... _l I• ... U~ A~maj 7 3 -r .-u n " ._ ..... T ! . u - _" _a u ---~ .....-......: ... .. '" " - " .. " - n - " .Q_ _. _A g .n 'w . x - " w _.. u .n ~ .110 Cmaj 7 > • - ~ ~ -~¥ ~~ . _a ~" " w - ~ .

.. . ~ ~ . .... ..... II> ../" .. ~. :. . I ~~. y _!_ -.Am 7(~5) .. II> . . . ~ . I:.. . ~I ~ l .. v •n . /I Cm7 __.. ~.. . ...:.:.~ . ~~~~~~. _ :. ~::: "0- -3---1 L3_j V' . ..• .... I ~ fa' .. b.... " .. .. . g . '- J~ iJ.."' :...- F#m 7(b5) I ~~ """'" ./.-.....~ I..... r 'l....- _ 0 . . ~ ...• J..: Emaj7 ~~: I~ -!- .. I.. ~ _A._.. Am7 .. - 3 . :.. -._ Gmaj 7 -"'- - .:: D 7(~9... _n _ n .. . y " Dbrnaj 7 I I I D~m7 """'" .. . In "0- ~ .. . ~:. \... ._ i..:: .... A Gmaj7 E7(#9) .. . !: _ " I!::~ .H~' V' _ .. '1' C7(#5) -L l' .:. Iiiiiiooj . v ~ In ...In\.. .... - . . --<L - .D.n ._ .'¥ ~~." . ~ :1 ft In .. ..:. Fm7 I -"- .- - . .. X t• .. ~" q.. .. ~.. I x J~ i.~ ... .~~~ .-.... -.. L _ . .. II> I ...~13) " . . n . " . .:. . Bbm7 ~~ ~ ~ .. ... iIr.. >_. ... harm." . i....... 10' .. ~~~~~ ~be. ~ In ../" I r-. .'v .... -z. ~ .._ ..A..

. . ..... ._...... :......n H -- .- " '" ..ft .... " "-" - ~ :j ..:: .a.....::.._ -" . . .. .#9) Bass Solo: (over form) Fm ~ ~ -iii 36 ..It n ~I I lr ~ " y ~ r > Gm7(~5) C7(#5.~~ 'J ~ I!= II!!!...n .~ ~.. ~ n . .. f> v ~ . ...... ... - ... - -- ~ ~ :... iii- :.. .lf~ •• ~ ~ play "behind the beat"· • ..-.n .... "._ .-I T - '-' . .Bdim7 ~" I . .." I .- " x ... s......•• . .. ... n . . .. Dm7 r ~ .a.. .. ... ~ .._ L"- ...-.-oo!!I Dbrnaj 7 -h" ..._ n '" . ..v . y .ft 'v .~_.~b • J Fm7 . ! g_ I . .. ~~ . v -" Drums ~._ ....- _ "Trading Eights" .. . ... .. T n v W .-. j - ~ t- ~ ~ .- "'- .t q. .:: .. 8 .......-. ..:: - .. ~~... ~~~. ~ • ...... ~q.. _!_ . .._. T .n n v - n .." Abma] 7 ~" I .-:...13) Abrna]70) ". _O." ix ........- -"- . . v po . Cmaj7 .: n E~ 7(9....r .. l' ...

.. i'" . . · · · ~~ ~~: ~ ~~::=:~: t I" \ L~ qi . e .-.::: . I ~~ '---3 ....\ . ."._.. .... - A . .....-. x v -:... . Drums Emaj7 ~II I ~ ~ ----L__3--..~ :.iA' .-~ ...- ... ._....13) qfll-=-fIl • ..- ""'" ..---. 1~ .13) Eb 7(b9..13) r-- .AmI I > "/1 t... ' ... x ~ ...._...: A . ! .- ft ....•• al Coda hold. :.~ .. ·-----~q~' ~ . olt • fL • ~ - . 5 T .. ~ -.'"n :.:< • • I'" I ~ V./.. .... .." n - .. :> ::: II!! -:.... Bmll E 7sus(9. -I D T .S .qfll oft.. I ~~ i q~i ~. . _..... .. . ..:< A p' ..~' . . :.. . 1/ • . .-.... g ! \ 0 ~ .. p · · ..... ~ ~'O" g ""'" x v :: v x v ~ ~ :: :: :: . ..n :::' -- _0 .. .... :.J 0 F#m7(b5) B7(9. .13) ~~ CID G6/9 11· T . / )i. • I. .. '-'" T ! A . • r II!! D.•.: .-. . I h. i'"n' D .J ...--. - a .II!! ~ .'1'1'-11 • 1'\ · ~. ::: ...: :. ~.. t. ~ t.n. A A CmII """"II t. ::.. ... : ""'" g - '. .. . :. . "/11 I ...:- .... ... hold....A CI ! . . :: ..: :.... ..l ' ... :.~" • ----.: n7(9...J . D-....a.

Ai>maJ. 9(#11) .-Ett Coda Freely Am7 Bbm 7 L.

. J Am7 ..~_. ..... ... - .. .. G7 I..._ . -" .:: .b ~~ .. u n " v .J I 1. . ..:: v . E7 ~ ... A ! n " ":: . • .n ..... ~ • . " . . C7 G7 I.... . ~"\.:: v ... "" . © 1994 JOE PASS All Rights Reserved . . . 3 n n .:. -I c7 r\ ~""-I . s: .. .. " v n ......L -.... V .u ... " ... v V . -. ":: . _A_ n " .:: v ..:::I ~ I. u n .I ~-I • t.\ n e!!!! "-I ~J ~ .. .."". n.. U n - . ..· I I I..i ~~ ~ f: ¥ ~ .. ! g JI./ 65 ® CD _. ~.. --"...._...1 ....n n . . u " ~" v- .... n ~" . . ..i . . ~ .....D. G7 ".. •n .I" . ....JI.. ...

.. ~ Am7 ... .. v . A "/1 . -L~ -3 ..110 ( ~) __ • L . . .__." " V - .. . ~~~ I.... ."/".. . .. ../" . .. y ~ " 0.. k I¥" ... . ..~~ ..- --.... '" V v' 3 .. g ! " .. . ../... .. ~ v c7 ... - ... " .- .. :. --.-~~~~ - A ..n ~ .. ...... WI .. ..0. ... G7 I ~ ... . or A. - ~ .. . T I --. G7 c7 ~ G7 ~ ~ .... V .. V \ .IIo~-~ . :: ~:: vr t c7 .....- /-~ r---3--.-~~~~ ..... ... ) ~ .. y I. . " v ~ -3 !!!!!!!!!! .. - ~ V ...... .. . n ... " " " V . ..n .. V '- .. n p v D~~ V D G7 ./ .. - _ v ov fn "/I. ... . ....-.. ... r-. " " ft .. D7 ...._D w . .b. _ -... n r .. ft p' ..

../. ..: n ~ .. 1 . A ......... .jj.. D " .... :. :.. _' ~ C#dim7 . v 1 ~ ..... 1. ~ v • y .... I. J:> v . . ~!II- ... ~ . g ! -.. ... ....Ii ... - D ~ :: • . v .. v v ~> > "" :.. y __. ..:"...< • --I I ._.. ~._..... "" :.. y _. \v/ ~j . n ~ .... In ..< ~ v .. ..- In ... "" :.. ...._ ~ ~ .. 07 _..... ~ A " .. >. "~I::~~~ .n .. __J harm.-- . harm..:...- n .. .. y . " ~ :: .--I . .110·1 ~ ~. b• ~ .. ~:... ~ .. . .110 ~ • ~ --... ::::: -- ._/. ~ '" .. ...:< A7 • harm. :: ....110 .._ ~ v V C7 • . I . .. .. I r--"I ~ ~ .......L> '" <::» A n ~ ~ - .07 .. :: - X n ... I~ ..:.....Ij.. q . ~ '" - ~ ~ . • v -. 'I • ~ ..I.._.

0 114 t "" .110 . . A ! .I> 0" .- .lIE "/11 t} .. . . .. . 1'\.' " . G7(#5) ~ • -.. ..I . I I I L. v ~ r-t. " ::.. .'~ ~ . .1 /......... . ! v " .ir.a __ ..... .a ...... Am7 """"11. g " ~ ~ ... . ~I ... .. ... "" Y \YJ ...... e "7 on .1 - ham.._ ..110 ~ .. . "I" . .. y ....~..n . n . ""/J ...110. ~ ~~~ • x .110 ...110 . - A Am7 ""/11. \"1 " v .. " ::....'-" _.... v -~ '... '... ~ "7 v " Y ""~"" .' .. ..'\. ._ --....... y " . \VI -""" .. ~ ~~ I~~.> "'" .v . In. b . ...... I ... ~... . . ". 114 ..I> ov " V - .. "I" ~ ~ . " . ."...110 ljfi:w24 L. .I .aL. v .. v ~ y e . " v "' v " " y '" ~ -" x ~ :A .D. ...-. .a# _ L ...n ~ ~ ·v ~ n '~ ~ n n - ... 114 ~ "'" I 114 114 r>.. 'n ov ...~ c9 x --... I I.... ./\ . ".. ..a~ ~~. ~~~ . " v 1\ ~I .. v " x . ... v ...-.. ... " ......

:: .. . 3 3 p7 I L . := := :: . .. ~ . CID C#dim7 G7 L ..... ft .....< . 3 ~ ~ ~ ..GID ". .: n ..9) G9 D7(#5.. .__. ......: x .. ..jj. 'n }' • U . L --.: ~ .. x...- " . ft ft A . ~ ..... . . G7 Am7 D7(#5..~~ " .... ... .. ~ b tJ~ ~ ~~ . 3 L---3___l .. . .... ~ .:' •• I ......oJ' ~ ~ ft -v - . ~ .:' .. . . ft .~i bLt .9) > FIG > D7(#5.. ~ .. A g . .. !'"I 1(' Xl -y -y . ~ .jj. . . ... ':.. . .. - ': :..... .. . ! "I" A ... --. :.... C7 • "I" ! ... . .. .. ... '-/11 . .- -'L~_" ." Jj..../ ...-a D-.. b....._._ ~ I..... L .. ft . ~ --~. .. ....#9) C9(#11) 1.~~ ~ """ Rio .. 'V '-/11 .. ~- 'f!:... = ::: ....... -. • ~ Jj. ~ ~ " G7 ~...:: ... ~ ..__ k ---...- l) .:.........\ I . ~ --... a ! J': := :... ~ ~I.~ Jj. ..:: ~ :. . 'f!:..:---. ..~ . g c9 ...jj... v ='" . x ~ x _\ ~ r-. Am7 ... . ~ . ft E7 --.

~~ ~ I 3 .I~ Jj. ...-. . I .. 'n " v _ .-..... • .. n n . \ rr t"....." " ... .... _ ~' :...--..... r--IIII '-" ~~-!: • .~ ::--~ ~IR- ~ .-~ / .. ..: '. . p _ '. X ....... '" I" .: '. l' ~ A . . :. . n ~ ..~ -c . n II x - r<..~~ D7(#5) D7su:!9. " " _ .~ I : .I~ Jj.:: l' ':i v A_ C7 L~ ~~ _ . ... <. l' --7 ~ 7 ~ '" " '" n " -. - In .. .b~.J . ~~: I " x :..... g n V -~ n Jjll:) r ~i ~. ..~" ::: :... " .a. . 1..~ :. :.. • I ... X :..: '... " :: ix ::. ~..._ -.....a......._... G x .G7(#5. . .. --~ !0. ft s: ~ Am7 ~ftJj..... - f.. ...0 ~~~~~bA~ ~ 'v _l • or _!_ IIiiiiiiiiliII r ..--. -- == X - .J!. ! ~ " v ~D' .\ ..: ::! l' III- L... . • ...q ::I_H:: !-. ~~ :'. 1.#11) ~jJj.- x x .~e L_3--l x ..» :. . . :. ..---~...13) .13) ---• .. - --'=- - _" p G7 . _!_ n -.v . . " . :.. .. ft . "....- '" tx r..--- • . n 'L I I ~ ::! l' . L. ~ .n_ .. ....:::: ... .-. ~. _A.. ~ l' ~ ::! .. .. 1 t.» / .. X ~ .OAr---.. " ft _ ~ l' ~ . :. D7(~9.....:.::1.•\ .-.... ~..\ :..: X . :r:~. . <...~.. .--_ _ ....~ c9 C7sus(#9) C13 J I""-L.. J: ~.. ..~ . .....: . X . .. -l. ~ - ~ ... ...:: = .. G ~ft Jj........_ _ - - ... _ ..

TV . L3_j E7 D7 ~ • ...... ~- . _ \ - '7 .. ~ .._ . 11. v IX ".." . "= Am7 ..-..13) . T n ~.. • . ..#9) C7(9..I..~...__ . ... I ..~ An~ . - G7 _.. .._ " . - r ~ ~ .. .-.__ 3---..: 3 ...J ~ • • }< _ x n ~ ." _._ Aft _ 3 I .......:.... .. • -zr --a J -_ .... n ~~ ~ ~~ .. G7(#5....J ~~ ~ ~~~"_~kJ --"Il" ~ n n ". -- . ~ - .110 .... 7 ~~~* ~3---..: .

8va 1 . ..n n ._.~ .... " .~ . ..~ roT ... :::: .......it ..... ~ n 17 ~\ ': XI 1\ ~ . ..:. •n > . .... . 1... ~ 0 - '" ......~ .......... ..... . - ".: ::: . A ~ w ..-.v . 3 3 V ..--<.. • A :..w ~ _ .. ....... . "" . r»: • ... * !: :... _ ~ --- 3 3 3 • n' ~ :.. ~ ~ o o .."-!_/I . l::: ' '" X V .!- I I ..... A .. I0Il - ... . v ..... /' I .» I' • • 'I '<II .110'-"... A g • - " .. .... " b~ .......~ ._ ...... . 3 G7 ~II.... .. w ~ i-ii .n .....11 -= ~ • X !~ ~ " #: <:» D'-" :..-: /1 _b~ ~ I- ~ ~ I!: ~ b~b#::: .--.n J._ .. harm.........: ... b I~ c7 ~ ~ ~111..n ix '''' ~ .. - In ......: v . pc. ::. _ ~' x .. .. :~ .. .!. . ' ~ f- ~ ~.9) G7(#5.9) C9 .. ... ... C ..110.-....jj..... V " J:._ .. .. . ! g .. . :::: " ::: .. w ..11o .. .. e: .- .n ::.. ...... I.. ~~ 1.r-..... . . II.. 'T A • I ~... A ::: ::: :....._ I I G7(#5... ::: A x v . - :::: ~ ........ . .11 I......

~~ ...".. hold..n ....U...~ '" .... . -'II Jj. .. .. .. g 'T -. .-..._ ~ ... =:LJ ~ 1 .!!_ . ~ t.... ~ " ." ....... '" ... " n ~ .. A .- 1 3 ...» A 'T .. " •n .. /~ =L.. ~ .1 • _III' r' _ l:: -r" " -: ---. _ . " . 3 .. ·tnr~· 'T . .. 'T .l'--' .: A . ......~ 3 > r . :: . ~ " .... . . . CID D7(#9) . '--' " l:: " .. . _.l ~ ..... ~ .._ ~ ~......::.. r ~L~ G7 r.D .. 1 == J" . 0- :.n ..... . ~ t.. ·tnr~· " . 'u 'n '" . ._ - . . _ .. La r" ..D .~~-f!: . " ~ := " ...D " ::: X . g ~ ...... . .- .._. ~ -r. . I0Il ~ . . ..". .. ..... __ .....-'II ~/~~ t} .. .. ~ . ~ .... . . _ :.. .. ~ Am9 D7sus(~9) D7(9.- r-:::. .~ #. 1. u . - ..Ij '" Jj.... . r I I~ _E_ -. . _1 rr-.... .._ 3 """"" Jj..r-..----. r». .. -."r.. ::: := ..........:' .:. . :: • -: . " .... " ..... " '" . _n X ~ " " "_ v . . g ~ '" X " x .. .... C7 3 """"" Jj..--.- 1 3 :- s.-... . . . . " ~ ~ . n ...~ ..... ~ ::: ~ ~.. ~ ..~ ..1 .D ..... v ~ V A -: n .." ..".13) " " :.... --... -'" ....... . ::..-I ."... .. " - ·tnr~· ~ ..n . ~ ... . ~... . . .. -'" 3_ 3 . ..

.. b_ . --"- --":... ..... _it ._ i> I I :. ---.~ 3 -" L.13) <..s: A ~ A - .. : L D7 I:: 3 .. . :. J~"""" lilt. .. gG ... " x \- • L . ~ . L..I~ It JI.111. on ....... -<L D -'>.~ 3 r'" .110 1 e: 'ft ~L ..:....... L--3----' x X -"'- ! g x .._"-"'_ -r ... . ft ~~~n . .... • . ... ~~. Am7 ~II~ - 09 ~ • ]4 L. . ...:..u . .110 C7(9... "'"'..\ I . :Lb~ .. ft C9 .: ..» ! - . __ii __ii x x .. _it " :. -7_ D ii --":. - "7 .rh :. " ~ .--" '111 .. ii -"ii . b!iR- '" • ._ .: .: ..D. -" - " v " .A x X .~ " _:5' x " x x . -" .. :.<i c9 _ii - .» 'U'______ ..! . .:"' on _.i c... v-"- - ..110.: __. .!i _ii - x :5' x 07(~5) C7(~9) C9sus ... «:._ ....._.:./:. u .bs:: ". on iii. u ..L ~ '111 ~\ _.110 .n . i\ It .. u ... ::: ... . • c9 .. a . -.. D7(#9) 'l p9 ..a .1 IlL IlL IlL IlL__..:: .13) .ft .: :.A 07(#5... c9 ~ _.. --- D -'>.. " x ::: ~ A7(~9.. _it .....:x . ii :. ~------:!:. . ..- In .. ~~ '-.. -• u ~ . r--.I" ..: <... . ~ ...:: ~ ~ ~ ::: .1."7 .._ . ..:: ..._ :.d . x ~ x _n......-. .." .. x - ..... .--.: 07 sus L~!-_ • "" .: l) ... ... .9) C9 lilt.. ~ ....D.i.. . L_.

.....¥ ~ ~ ~ f: . _ .. " . " X ... ...." . -c.110 t "9 .... .. . "9 - .-.. A. . ~....~1'.. .. . ..n -~ '" ... ."""C'_ ~ I ..-.. " .. .... . .....-.. . . ..110 r'I ..... " -..... A ! --- .-I ~ p Itt'" ::. ... A V 67 ~~ hold... :: ::..e.- C7 A... " v Lo_~ - IIiiiiiiiii.:: 3 ~ ....._ . g ! A ..Bass Solo: (5 choruses) 09 . I t ..H..". .-._ L.. .. . I ~ ... .. .. ~ 1'. .. ..H. .. 'i' X :.. .... . n 07 --./11 ... Trading Choruses: 07 ..-...".. . .. . ~" ... '" ..._ . I ... -. v .n_..~ r--3 ~ " ~ • r A. . . ".. .. C#dim7 _.-. ~ . ~ ." ... 'I'" '* J U'_________ .jj. . ..../J .. . .. ...-. . ....ill ~ ...If! .. .... '". p .. n .. '" n- ....ft ~j ~ t .... x ......-.-. . .:_ .... . ~ .... ._ '" . ..... .

... t .._ . ._ ~ ~~ II' .:. '" - er" . J J "' rushed....110 tJ a ••• _ ••••• _ .Am7 ... 1 c7 1 al ar- a ...~ ...../j ~..• L--3---' ~ .v "" .. G7 ....:: .._ 'n 'n ._ ./" .J .. -__ -_ • . __ L 1 'I _l .. ........ ..Ij..._ .. ) ._ '-' 'n . " v v .n . v .. -.:.._ .....n ...... :: \.t:~~.~~~ =...~ 8va--------1 ~' ~ '".. a I.. ~ . ......-~ •...• ~ . " iii " v _ .....n . i'i .......• ._ ..- . .. V ..v •nn v .:: ... v • n . .J a L.-. w '" y . _ 3 It• \. --.~.~ . _ " v -....._ "'_ - '" _ ... " .:. 'f'...Ij....J. 1/4 Ii. ""~ f=' ~~p..._ ....~ . .." _A .J _f'- _) 114 .. '" o_ ..: " ._ . ... ._ '" ~ "........J harm./".... .. _ v ..'f'- ~_) f''. .. Drums ~.- .....n on ..._ .. !:~ n . .. •. ._ .--. .."~ tJ ..... _ " . ... ...: ~ m......_ ..._ ._ .... - _"- _ v " -"_ ' ._ II......._ "...n ... ... ..v.n . c7 1/4 • 'a .. .. ...-I 1/4 I" II' " ) . .. 3 I.._ ... '" . . !: = ~¥~ += •r..oj n " " n v n "" '-...n " . .. ! W 'n v n v .. .. .. • .110 I 11 .-- -J on 5 • 3 ".. "'-" -" v .. .Ij... ....~ f'.{J ... - ....n . . G7 ...1... .. ._ . . 'n . - v ._ .. .....

~ It.... . i~ A y ."""'/1..~ .... .. . v n - '. .. _ ... . _ A. . '" . ~ .. "T . JIo -kL L> > --.I!l.....v ... v ....... ..... 'v ..... n .. 3 3 3 3 " - " .n - .- ~ .' .. - . .. 3 .... . . ~ I" ~ --r-e n _I. .....H . .... .110 -. '" .- . ..... -.H.. ~' "- '~ -- c7 ~ v I 5 . v " c7 """'1 .. v . . ..... ~ A ~ . ...... ~ - .~ . .q 11 v ~ "T . ~ ..1 """'/L~ !:' Fi= b. . ... .. -"- - _ . .'\ -/ n ... ..110 L> > ... . ~'= !:~ ~ ~ ~ b/L .......n .... v • . " . " " ... 3 • " ... .. __ "- ft -ft .... . ... ..~ ...~ ..~ . • .. _ - ........._ .. A. v -'" v ~ ... ~~ . v . - .~'n ~ . .r. " '" -.....n '':' n - ~ ~ ~II JIo I . .. .D.. .~~ '---3 ~ ~ -I I ... v ~ .b. ~ . ...- ..q" ~ q IE ~ . <:» I - ~ 3 .... "T ! * @~ E :J 8va .J - --~ ~ •• ~~~ j: _.. Drums D7(#9) G9 ~JIoI. +- •• ~_1/t_ ... .. " ~ ~. III ~ 11 ... - n . . ~~ Il-!..n ..'v ..- iX ~ 'n v ~. . _ "'.....v 'n .. ._1 3 3 .

.r'\.. .. .' v !II- ._... ~ ~ . " ~ ._" . '" 1/4 ._... ~.n .. .110/"'\1 s> ~... . .' fI' II' / .t . .... ... n -v :. r-. -::: L ..._ <:» ~ . .j~ .. 'T ._ 3 . ._ -~ .. . ...............- .. ... .. ...... .. • hold..I .. . .. ...... . . ~ Am7 '/A...- . n .. . :It i L. .... - .J . .. j ........110 r-. . ... /...» y ::: x ......... .....n .~ 1:4 -IV ..-..... '" '- .-I tJ r r ) ._ ....( .....110 ... . .~: * e e . ''''- .. 1/4 ~.110 • ~ ~ ~~jI.._.. n ~ :! \' •n x ....IIo .... . .. ~ "'!.. ~......n ../... . n . ::: . .. ... " -v . .. 'wi ~ . H: v ~J~~~. • ::: ..n ::: .... ...~ ~ ..." " " I..' x n " x . " ~ -:._ " ..C#dim7 ~".- Gmaj7fD _)..i\./. . i..-.~.... harm. L.. .. / '" " n " .- . -.. ~ r--l r • n .. . -f*:..: ::. . t' ~ ..p <.n . 13) c9 tt.1.~ ..n ... .n ....... v .._ x 114 """"". ......-. Am7 .. .n ..-._ ~:=:t '-" G7(#9... j ... 'harm.~ '11. - ~ .... .. - . ~ - ... n .. .... ::: . )~ . C~ ':' . J . x ...ft .

.--~'-" ..n . In IV . .-.._". ..:. " ._.o" ..:: . rx . ~~ n9sus i . . I' . ....".9) G9 I .. in..-:. :.-. :: ° x . .r " .. _ ..:: :.¥ ~ <> D " n7(#9) G13 """". .. • .0 ~:::::::::~ /. I ..""""1\ olio e.-iA G7(#5..#9) .J .. '" :.: .-._ 4' I' . ~ .a. . " . . " .n ... n ¥ "... r''II .' . V ft .! .- n -- '-' 'I ..:: .. ._ . 1...\ -.. D 7SUS(9..: *Bass pla y s C # ... I. x ~~ :~ :. x n -" . _::.-. '-' ..on... .-. . . 1I X n :.. t....:: X p • G9 " I._. " .:: .- ._. ' 'I """"II JI. ..'II '-! • I. - C9/C#* _""ftJl.... w . ° x :: . olio..n lon\ IX ''''. 'II -':"''11 x X \ ::: ..__ i> . I • .! r In . .....-...- :..... ...: ..- .." .._ ... . 'II I" \ r: " .!> -.9) C9 "-" _:.. " - n7(#9)G13 """"1I0II0~...:: . .:.._. ft·'~ • r».. ""---iR "-" e..:: v ~ " 1>. ~~I....__ .::.:. i> v .. r">.i~ . ° n ¥ In IV !.::: 'II .. ..-..:"-"'J ".:~..:: .. harm._d ... A ! y .. I 11 ..:: 1Ir_ ~ :. .. --n v n . ~ n ¥ . ~ . .:- ..: -.....vn\ b J'"""J ~Jt. V . .... V .. .- G7(#9) C13 L.... . . --~ in..v...-.a. In.:: n7(#9) G13 G7(#9) C13 .... • .... b. G13 C9 oJ • • »<. I ~ -L. '0' .~._ ..:: \ 1 'v. n7(#5.. .....!~j.. ~ .. r I ~ . :.....~ • r-' r n --• •_ .-. ..:: .on.._ " • ...... . I . ~ G7(#5._ ...: .. .. • ~ ~ . .-._".~ :: ..f.".13) C/D C#dim7 G7 .n ~ Ir ..

.=. 'l: ~ v ~ I .. -:. ''w. .. .. . <:» '" '" :: ~ ....._. .-. ......... . on - tPop wi thumb. '1: . . ~ ~ ......._.~ . ~~~~~.t~~ III ~ ~r > . ~ .T 1 ""'A. 3 I I 09(#11) '~ ..... - ' .. 013 I -.i.. ... '" (1iiOC ft ~~ ... - If ...... v ~.. :: A ~ 'l: ... .. ..Freely A~7 ""'AJI. Lo~ w e- ~ A ~ • . t . ~ V .i _....-~-~ f:\.'" . "'" v .ft " -u " 1':\ '".... -. ~' II. --:-:-::---......... . ...." Hammer -on to srnng WIthout pIcking. .... . = ~ I ILJ ..IIo .... . I I ft I0 o ....¥ .

fIL ~ ~ ~ . ..13) :2..--I ' .J . . . _gI_ . . v :::: . .. . AP _. ~ :. .. ...i . .... I Bbrna] 7 ~ It 3 .I ft v F13sus ... ...-.. ..C. ~~ .::.... @ ..". ~ .." . ... ..I... .. . . Bb13sus .J /. !!. X .. ... A • • o I I .-r-- ..I tJ .. v ~ ft ft . 07 • - ..". x :... :. -.... ft :r x .. . r-ii ii . x .. 3 U r:.I......Il I :. ...I'"'...13) F7(9. :: v ft v ........... • r-- . -.. . . CD Lyrics by NED WASHINGTON Music by VICTOR YOUNG Freely N. ~ . ... © 1946 (Renewed 1973) FAMOUS MUSIC CORPORATION AU Rights Reserved ...#9) . · · · · 33 3 3 3 <s .. .J ... . ::: _ ::: iii ft - -y ::: - ~ ft . I .. '-' hofd.. ...... .. . ...I A ~ iii ../" I . = ..... G~ 7(#5.. ::: -.. -1:1 ..= ::::." . ii ./" I e ... Ebmaj9 ' ::...I . .... . .r:o_ I _\ l:" x :. . ~ . . . .--. ... -~ •• ii ~ _iii .{ _ .... . - ... ... . ..._ '" . ... . - - 'J:!" .... . F7sus(9... ..1 .. " " ....Il ~ ..

' ft in . ....... ... :=: .... ~ . " .._ v ~ ...._. -- 'v. ~ n 'i ../" I • .. .. ...-I Am7(b5) E7(#5... .. .. ::...I (NCt) ~ . v -. Cmll ..... " :=: .- 1 • --I ~ ..:..AI ~ 1':\ ~ ~ r». .. ~ .- :." '" :: 0 ~ . ./. U . ... .. y . I • • i. . '" " r . . v .#9) '"~ G7(#5..... Dm7 r---3- __ 1 • • 4:.• r-e I:: hold.y i.. . A 0 . • ... i' .... ..c L r p.#9) A7(#5. :. . :. " _... '" ~i .- . II'c. . • 1i . I x x - o ~ " \i' :.~ n' ~ ~ !- ~ ~ _ a " ~ ..#9) 1':\ ". .._ ..__.. Fmaj7C "/11 -. In tempo ~ · ·· . . ... .. - .._ ~ "... '" ~~ ~ I p '"' · ·• • hold.....i hald. ..:.. ! I ... cO..: ... .- -~ ~t I It- I.-I ii' .: . v ~ "f" I ~.... .. - '" _ - - . G7(#5. . ~ :: .. .:... . • . :=: 3 ...b9) G7(#5) • I 1 ...~ .J ~ ~ . l) . I . - . " i'i IfII _ ...... Dm7 rtf" ... :: • .... . .... I .. :........:.-I • .... iii....... . .

. ---...: .-p . • _..........._ 3 ..• -1 '" .._ ~ • I.. '" . . .... .: . ._r . .-... _..... ~ ~ ..1. ... '"- .. .. . • . Dm7(~S) """"'A I . - ~ ..._ . - ....... II.-... *D sounds at pull-off...."."IA I _. " - -."..- p . p7 """"'II I '" .. .. "" v- ..-r 4 ~ ... .."""1 ." .- -... " - .1.. • ~ ~ ~ '*.i'_ if4I .. .!. - .. " l! hold. '" ..-. . ... '" "- -..-1:.... > ~ ~I'''' J ~ ... . . p Em7(~S) I . ....t ~ ~ -~_ s ~. " ....... .. • 3_ . Em7(~5) . .... . . ~ - . ....... "'- _. e ... ... .. - .... - ~ .__".. - =: - '" .. -- . ...... ~ I .. .. .. .. Cm7 .-......' .. • . . • . ~ if4I .- --"- .) .. .. .. f!. -. .__. "'..It ...'' '--'' ' ...... .. ........ -" .. ._....." '" 07 Cm7(~S) .. . ~ .- -" .. ~-~ b. .. (...

..:: 1...1 I .. ~ ill ..--... " ::: 'i .. I . ... . - """.I~ I .-..._ ! . • ~ 'i ....~::::: .. . Dm7 '" I01ooo"I ....~. _~- . ~ T • .. . "/II'- ..~5) Am7(~5) . . . '" . . ....~ ~ I' "01 ...!:-~ • -It.. ". ft . .. . Fmaj7 .. ~ .. .... " " . . ~ ... _.. .. . .. it t.. "........... " 3 .. .' . . .... "0 "'\ 11 .. .._. .. ..... . B~maj1 B~ 7(~9.>_ .- ... ew ew .. ....:: . .... ........ 1. lOll Em7(.. J.. . ~ I.... . . . ... '" . ......... . I _.. .~ I . ! ..- :. A... '~ ~ . .. t. _. . .... g ! A Pi -.. ~ . B~maj7 'I I .n ".. .--...... .# II) ~ . ... _§ .... '" 'i .. . ........ . ..._. . B~m7 e ~~ i I: .. ~ ~ " . . .. A iioii :I0Il I .... ".. ~ - . - .. " . -. ..j. . i& ......"1'.. :. -'Il I ~ .. -.~~ .. - ...... " ... ~:: " 'lil 11 "q~t. " . ... . .. ~ i* ! "... .._ r J . . h. ~ l' .e. ..:.j~ II'''!''' . v. 07(#5) """..A~7 """.....

. '" _'" --"- _ v .: .. ./J _l C7(#5..1 'III"'" ..I -. _~ .._ ': __d "1:11 _ r ': _ii ~ - ...::.Ji _A . _-'j_ _'" ._ .. . 0 li: __ti .J. # _._..h~' ~ ~ ..i~ ~ ~ :._ v ~ ...... . .~ ~ . _ii p13 ...s. ... - .. - G7(#5... ..~11 _I ~ i ~ =: ~ ~ I' ~ 1 J .a _.maj7 I - .:--.. _ii _-'j_ . ~ . I ~ . '" _-'j_ J:_ ~lI_ _I ~ .... . . - a- . _C_ ': ._ ... ~' v . ill _h.1. . -'" il ft t. . - -'IlL .~ ~ •~ ~ _E_'" i!: ~ ~t=~ i..13) • 1. 87(#59) "Iii aJ I ~_r-~ '-" Bb 78u8(9... . ... v· ..0.. r ~ .. * - .. ..--I .-. .. :I' ... " .1..-_- --"'- - - - .:. ...... .._.. .. hold...i ~~ 10 ..: _..#9) ". ii .... L .: l' ~ ..#9) . . . .. ~' ~ __!_ _~ .: .. 8bIF . ~ p7 Bt.. w I .._ l .. - .. ~ -- i .. ~ :. :i _L _. .i_ _"- :i .. r--: ~ J... -..

" " ..." .. . • ..._. Dm7 .. -""- . ..: . tr- IrI ".. " .~ _. .~ .. . 'I " ... ..... . " . i ~ • " .. ... .. :: .. '" ...~ -~ . g ! B~maj7 _"1. . :w~ '" • " .. '" .. . -! g i x :: • . "....._ . _. " .. A _ft.. g '* :. ~ . .. ....i ..II ~ " .....""""A~~~~~~~ • . ......... .. Mol. ..... . " . ~~~~ . ....~ .. ~ I.. :: ... ~.. " . ! A.... . I r--.1. -..... " .: . '" r Om7 e13 """"~ I ~ • i :: • ... ~ "... ~... Freely ~ _l ~~ ~ .. . ~ q1 ~ . . '" ' ~I ~. -.... ~ !N. .. ..:... v ~A I . - .... ~ . -- ... ! ... .. " --)" ...... ' •• :. .: " '" . .......- .. .... -. " . = ~"~ .. 3 -.... . .'" .. " - ..D. ..i._ ~ I ..... " ~r:J ... . p I. . . .... .. ' . .... p ....i.... ~ . ... <L .. ..--!II " .... .. ~~ L-J_' .. .. '" .. ..II """'.......-'" G7(a1t) ~ r---3----1 r-J--.n . Dm7 """"A I ~ ~ .~ .. - .. · · ~ · 111 ~_i u ~' . . _ . ..... .-...< g ..} I:{W'I" ~_. -- . - ....-\ ~ I -.

...._. . ..... ~ -.... .. .. P.. ~~ ..-. .. .. ... . . ~ " .. 1i :: . -"'- .. • ~. lI" If". '" .0 '" .. . hold Ii.. ... · · · ~. - hold.--.::.-I It...-I .. .- .~ ...1 II I . .-I :. . J~ -- .. ~:' • ~-~' ~ ~ .... .....Bva Bb619 Bbmaj7(b5) r-3----..-..tA I '""'..... ... ...~ .... .d. ~ ~:: !. ~ .... .13) p7eb5) .... .~~ If- -til · ~ '" ... ......... . ==-. .. hold.- -.-I I:: '" ...-I !J. .II ~ "" ~ r ...13) "'. - 1':\ jL if• .tl I F7(#5.......~ • -til ~ (1t. -til ..-I ...-I hold.l- ~ II lri i - " . -. .. :: Ii. •" 1':\ -It.l I • • 5 . ...... h..... ...1* 1i hold.. .. • r-til .. oi .. " r ~ tN! l: 'li J:t Jl' Jl' '" :: l: l: l' l" ....1\ -til • ......-I " . . ...\ .......... ..- hold... . - Bva : .#11) :: '" " . PI ).. "" \2"1 . Cm7(~5) C7(#9..t" II I h• • 1i --.fA. .b9) ..- . ..::...... ...·1 hol.. 5 ... . ..• . '--3---.tA II I ....... .. .. ....'".. - '" " F7(~9. . - :: . . .11) 1':\ ~ • ~ h 'L~ ~'-' hold.. hold. ..:.. Em7(~5."" r.. ~ !.... ... '" .. ~. . G7(~5) G7(p9) .. ·· ·· J:: J::...r.. ... ! A lOll --..-I . . ~ .. ~ ." - -"" '" "" v - hold.. - F7(b9. --".. Cm7(b5) 1':\ .1 -'" . ...~ !. - .r' " '" L:L ii. " ..... ~ ) 7 - - :: :: . -.. ....:...

. The note name is indicated above the rhythm slash with a fret number and a string indication. •u f.. The chord voicings are found on the first page of the transcription underneath the song title. HAMMER ON: Play lower note.. Florida 33014 International Copyright Secured Made in U.~I· 3rd t·". then release to the original note.. . .. Only the first note is attacked... ft ... ...GUITAR TAB GLOSSARY TABLATURE EXPLANATION READING TABLATURE: Tablature illustrates the six strings 01 the guitar." . _..\·'r. -... PREBEND AND RELEASE: Bend the string."" ¥¥ ARTICULATIONS ~.IIN ... " BENDING NOTES PULL OFF: Play higher note.. (Only first note is attacked).n ~=~~~~~~~~I J G t) I I _--". C Otord A'l"'¥~i""d .. !. V ~ .II ~ LEGATO SLIDE: Play nole and slide to the following note..In ®®® x :: x :: ACCENT: Notes or chords are to be played with added emphaSis.f'! JU...... _. .. HALF STEP: Play the note and bend string one half step. e ~ . apen 31r op!.e .SA All Rights Fieserved ..! Pi g WHOLE STEP: Play the note and bend string one whole step. .. '" u RHYTHM SLASHES PALM MUTE: The note or notes are muled by the palm of the pick hand by lightly touching the string(s) near the bridge. t) ----" " -..) n~J)J1 *A half step is the smallest interval in Western music. > > ~ i- ~ ~ .. .. it is equal to one fret. ~ 1990 Beam Me Up Music clo CPP/Belwln..) or upstroke ( v ) of the pick.I1I.. Miami. tJ ) T .. Only the first note is attacked._ v -t) t) u ~ .. . then "hammer on" to higher note with another finger. Inc. g T ! A . . Notes and chords are Indicated by the placement of fret numbers on a given string(s).. . . iJ --... A whole step equals two frets. play it.. 31r 11. . . then "pun off" to lower note with another finger... eSTRUM ) INDICATIONS: ® ®® 51r Strum with indicated rhythm..r--.. V I n v I DOWN STROKES AND UPSTROKES: Notes or chords are to "be played with either a downstroke n . 12th f"m A ·C· ChonJ .... I A g 1'1 .... "By Kenn Chipkin and Aaron Stang INDICATING SINGLE A GF ECA NOTES USING RHYTHM SLASHES: Very often single notes are incorporated into a rhythm part..

ICATIONS 11111111111Illll1'lll\lll\llllllllll 81158 I 1J 15800 N.) JJ lti.' $29.W.{( . PUBL. Ii nK.95 H'... FlOrid" 33014 A Warner Music Group Company REKBK009CD p. (. 48th Avenue' Miami.ISBN 1-57623-437-1 9 781576 234372 111111111111111111111111 * WARNER BROS.

Sign up to vote on this title
UsefulNot useful