Doyle Dykes - Virtuoso Fingerstyle Guitar.pdf

0~0~ Virtuoso Fingerstyle Guitar

Special thanks to Holli Dykes

Project Manager: Aaron Stang Additional text and analysis by jon Chappell

Transcribed by jon Chappell Engraved by Mark Ralston Technical Editor: jack Allen

Photos courtesy of Doyle and Holli Dykes All recordings courtesy of Doyle Dykes, except "Girl"

used by permission ofWindham Hill Records Art Layout/Design: jorge Paredes

© 2003 WARNER BROS. PUBLICATIONS All Rights Reserved

Any duplication, adaptation or a.rrangement of the compositions contained in this collection requires the written consent of the Publisher.

Transcribed by Jon Chappell

No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

Acknowledgments

I'd like to acknowledge a few of the folks who helped

make this book possible. First, thanks to my fearless

editor, Aaron Stang, who believed in Doyle Dykes'

music enough to envision and then pave the way for this

book, and then to offer wise counsel on its creation and pro

duction through all phases. Thanks to my wife, Mary, for

continued support, and for putting up with my vain attempts

to play "Birmingham Steele" up to tempo; to my friend and

Finnish freeboard fanatic Eero Kilpi, for inspiration on all

things guitar; and to Jeff Jacobson for aid and comfort in the

transcription trenches.

I'd like to extend a very special thanks to Holli Dykes,

whose triple talents in art direction, photography, and text

editing have benefitted every aspect of this project.

And finally, my sincerest gratitude to Doyle

Dykes, in whose hands the guitar becomes a

mighty voice that speaks to all who hear it. I've

never met anyone who wasn't transformed when

bearing witness to Doyle's genius, generosity,

and deep commitment to spirituality and

music. When I heard him play for the

firs t time, I said, "It just doesn't get any

better than this." Then I got to know

him. And it got even better.

Thank you, Doyle. -Jon Chappell

2

Contents

Page CD Track

Angels' Desire ... ...... .......... .. .............. ... ... .... ..... ~12 ..... .. ..... .... ... ... . 1

Birmingham Steele ......... .. ... ... .. .. ........ ...... .. ....... 20 .. ... ........ ...... ... . 2

Caleb's Report ... ........................... .. .......... .... ... .. 36 .... .. ... .... ... ....... 3

Celtic Cowbo ........ , .... .... .. ............. ............. ... ... 42 ..... ....... .. ..... ... . 4

T he Changing of the GHard .... .............. .... .. ..... 52 ... ...... .. ........ .. .. 5

Country Fried Pickin' ....... ... .. ............... ...... ...... 27 ..... ..... ......... ... . 6

Girl . ...................... ........... .... ... ..... .... .. ............. .. 56 ....... .. ... .... ....... 7

Ho ling of the Wood .................. ~~ ......... .. ....... 65 ........... ............ 8

T he Ja bone .. ...... .... ....... ............... .. ..... ............ 76 .......... ... ... ....... 9

Mart a's Kitchen ... .... ..... .... ................ ... ............ 86 ... .......... ... .... . 1 0

Miss Haley's Music Box ........ .. .. ~~ ........... .......... . 83 ..................... 11

Misty Nights in Tokyo ..... ........ ........... ........... ... 94 .................. ... 12

The Road Back Home ........................ .... .... .... 102 .......... .. .. .... ... 13

Self Portrait on Acoustic Guitar ..................... 107 ........ .. .. .. ....... 14

The Visitation .. .. .. ............... .. .... ........... ... ...... ... 112 .... ... .. .. .... ..... . 15

Wabash Cannonball ........ ... .. ................ ........ .... 124 .... .. ... ............ 16

White Rose for Heidi .......... ...... ...................... 119 ..................... 17

3

A Modern-Day Virtuoso Honors His Traditional Roots

By Jon Chappell

Doyle D ykes is one of today's most spectacular fingerstyle players, hailed as the favorite son in the direct lineage of Merle Travis, Chet Atkins, and Jerry Reed. Doyle's technique is firmly rooted in the alternatingthumb sound of his forebears, yet he brings an unparalleled range and virtuosity to these traditional styles. He inherited the locomotive drive from Travis (father of Travis picking), the sassy blues from Reed, and the elegant and artful arranger's touch from mentor and friend Chet Atkins. But within this fiery folk-based fingerstyle approach, Doyle successfully imbues his own musical synthesis, melding authentic Travis picking with Celtic melodies, country blues, gospe l grandeur, and swing jazz. He seasons his winning recipe with cascading harmonics and lickety-spli t s ingle-note runs.

Doyle came on the scene quietly, first by conducting clinics for Taylor Guitars, and then releasing two independent albums, Fingersty/e Guitar and H.E.A.T. (both on Howling Wood Records). He has since released four more albums and upped his clinic and concertizing schedule so that his following is no longer limited to a grass-roots effort of ardent fingerstyle cognoscenti. "I've noticed my audiences include more and more younger people," observes Doyle. "These are kids who grew up on the Seattle sound, and I play stuff by Merle Travis and they go, 'Whoa, that's great! I've always wanted to do that. ' To which I say, 'Yeah, and can you imagine this was being done by a guy in the 1940s?' I think MTV gets younger people interested in acoustic guitar in the first place, and then these kids will come and hear guys like me and realize there's a whole world of fingerstyle players out there."

Growing up in Jacksonville, F lorida, in a household suffused with music, Doyle first picked up a guitar at age 11. "My dad showed me how tO play, and he always had great guitar music on the record player," remembers Doyle. "One day at church, when I was about 14, a sailor named Barry Lackey got up and played authentic Travis picking. When I saw that man play that way, it literally changed my life. I made up my mind then and there that that's what I was going to do with my life." As an interesting postscript, Doyle met up with Mr. Lackey recently-over 30 years later- at a guitar clinic Doyle was giving in Detroit.

4

Doyle got an early and impressive professional start, playing with his own family of performers, and doing touring stints with gospel great J.D. Sumner, a band called the Crusaders, and Elvis Presley's one-time backup band, the Stamps. In each show, D oyle was summoned front and center for a solo instrumental spot. The prominence of these cameo appearances grew until eventually he became the featured part of the show. Even though he was honing his solo virtuoso chops in front of large audiences, he was still only in high school. "Often, after traveling all night," Doyle says, "they'd just drop me in the school parking lot and I'd head off to class, with no one being the wiser that I'd been up all night playing music and traveling, or that I'd just stepped off a tour bus."

After high school and a brief stint in Nashville as a sideman and journeyman musician, Doyle returned to his homecown of Jacksonville, where he married his high school sweetheart, Rita, got a day job, and settled down. His next break came when he auditioned and landed a job with Grandpa Jones, the legendary musician and humorist from Hee Haw. It was while

playing with Grandpa that Doyle first got to play on the stage of the Grand Ole Opry, alongside many of the legends of his youth, including Merle Travis, Tennessee Ernie Ford, and Chet Atkins. Doyle left Grandpa's band only when he realized he wanted tO devote more time to his religious pursuits and start his own church. Doyle remained close friends with Grandpa for the rest of his life.

For a while, Doyle was balancing his music activities with his church commitments, but he remained conflicted. "I knew I was a good guitar player," he reflects, "but I don't know how good a preacher I was. So one night I just went into a room in my house, when everyone was asleep, and in full voice, out loud, just asked the Lord what He wanted me tO do. I said I would do anything He wanted, I just needed to know. And He answered. And it was to be a musician. It was to bring His message to people through my music, my guitar."

And that's when Doyle's guitar career took off. "It all just fell into place from that moment on," he asserts. "Not only did everything start to happen professionally, but creatively too. The songs just flowed out of me." He is more prolific than ever, writing songs, concretizing, and producing new projects. Doyle has released a .concert video (Live at Harvest) and six albums, including Country Fried Pickitz' (Howling Wood Records), an acoustic swing album featuring, among others, Duane Eddy on guitar, Dave Pomeroy on bass, Stuart Duncan on fiddle, and Paul Franklin on pedal steel. His latest release is Songs of Faith and Freedom (Howling Wood Records), an album of solo guitar arrangements featuring a string orchestra on some selections.

Through all his successes, Doyle never forgets that his prayer for guidance was answered, and what his purpose is: to bring music to the people he meets in his concerts, his clinics, and his travels. There is a bit of the pilgrim in Doyle, and it's impossible to see a Doyle Dykes show, to hear him play, or to know him at all, without bearing witness to the deeper purpose God has given tO his career. "I do recognize that what I have is a gift," he explains when asked about his prodigious talents, "but it's a gift from a higher place. If God can

breathe life into Adam, He can breathe life through my fingers, and that's what I feel people are reacting to."

Besides the spirituality evident in his balladic arrangements and the Travis and Atkins techniques on display in his uptempo songs, Doyle exhibits influences as diverse as jazz guitarist

5

Lenny Breau (perhaps best known for his harmonic technique) and orchestral music in his playing. His rendition of the Beatles' "Girl" is a textbook study of fingerstyle art that incorporates jazz chords,

harmonics, and a shimmering tremolo. "That tremolo effect that I do is with my fingers going index, middle, ring on the upper strings while I play the melody or arpeggios on the lower ones with my thumb," explains Doyle. "I was once over at Chet's and I saw him play a tremolo, and I realized I had been doing it backward all these years- because no one had ever shown me that it should go thumb, ring, middle, and index. I told him that, and he said, 'Let me see,' and handed me the guitar. So I played it my way, and he just looked at me and said simply, 'Well, it works, don't it?' Chet was like that."

To keep pace with the requirements of his music, both in terms of its technical demands and sweeping dynamic range, Doyle's arranging skills have evolved accordingly, acquiring a virtuosity of their own. He realizes his vision by combining his own dazzling technique with an orchestrator's sense of color and texture, all the while retaining the rhythm and drive of his earliest influences. He offers these insights into marshaling these varied elements into a cohesive approach.

"T he first step is to develop a correct Atkins picking technique," Doyle advises, "because it helps with so many other styles, li ke Celtic music, where the bass is still very prominent, even though it might not be a strict alternating pattern. Chet understood how to place the tonic and dominant bass notes in an accompaniment pattern, as well as what to do with the upper-voice chords. In this way, he was like a skilled piano arranger- perfectly adapting correct stride technique to the guitar. But so many other music forms have a steady, independent bass, so the alternating thumb that catches both the proper bass notes and the offbeat chords is crucial. The next step in arranging is listening to orchestras. That's where you'll learn that sometimes your bass line goes down and your lead line goes up. For example, in a I-to-IV progression, the bass might go downward: C, Bb, A, G, F. The lead notes could go up: C, D, D#, E, F. Put them together and that's an example of counterpoint. You can then fill these two harmonized lines out with chords: C, C9/Bb, F7/A, C7/G, F.

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"T hen I might con-nect the chords together with runs," he continues. "I'll play the melody soft at first with my right hand, then increase the dynamics, which means I'll play it harder. But I'll also include more chordal material in the left hand- three or four notes together with the bass, that type of thing. Then I'll run the bass line down to the lowest notes. When you have a tonic on the bottom string and your dominant on the 5th string, you have your foundation right there, just like in symphonic music, rock music, or anything else."

You can hear that grand style and majestic treatment in so much of Doyle's work, and his creative curiosity reveals the mind set behind the discipline and artistry he devotes to his music: "If you're playing in the key of, C," he pon

ders, "why not rune down both the 6th and 5th strings, and get the C and the G together to get those powerful descending runs, and then work out the rest of the song with the fingering you'd normally get on the top four strings? That's what Chet would do. And that's what I try to do-always find an interesting setting or color for a song. Something that hasn't been done before. A different key or a unique technique applied to the melody, harmony, or accompaniment. That's when you're approaching the guitar as an arranger."

6

A LESSON I TRADIT IONAL AND MODERN FINGERSTYLE VIRTUOSITY

By Jon Chappell

In add ition to a killer alternating thumb technique, Doyle Dykes sports a varied palette of fingerstyle techniques that include Lenny Breau-style artificial harmonics, behind-the-nut string bends, tremolo picking, cascading melodic passages, rapid-fire single-string playing, and more. But Doyle's greatest gift as an instrumentalist is how he synthesizes a myriad of techniques into a seamless, fluid , and original style.

In this Jesson we' ll explore some Doyle Dykes hallmarks, and see how he infuses his own invention and genius into some established techniques. You can hear audio clips of these passages online, excerpted from Doyle's own recordings, at www.doyledykes.com/songbooklesson.htm.

Example 1 : Alternating Thumb Technique "Caleb's Report" is a great of example of plain old alternating thumb technique. After setting up a steady palm-muted thumb-bass intro, Doyle plays this sweet-sounding melodic figure in the first two bars. In the second two bars he opts for a less melodic, more fill-like approach, scattering treble-suing attacks between the thumb notes for a more arpeggiated effect. Palm mute the bass strings with the heel of your right hand to heighten the separation between the bass and treble strings. Before trying to play this notice the altered tuning, known as "G6 tuning": 0 G D G B E.

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Example 2: Alternating Thumb, Rockabilly Style This rip-roaring alternating-thumb passage from "Country Fried Pickin'" is in the style of the rockabilly rhythm figures of Jerry Reed, Scotty Moore, and James Burton. The riff starts in open position but quickly advances to fifth position to better facilitate the "quick D" change on the "and of 2" of measure 2, the "and of 2" of measure 3. It's not a true chord change, because the notes act as a mere double suspension of the A chord's 3rd and 5th (coD and F#), but when your left hand's in fifth position, it's easiest to just think of going to a D chord momentarily. Work to get the hammer-on from the C co C# quick and crisp. That will help provide this figure with the necessary "snap 'n' sizzle."

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This ascending cascade figure from "Country Fried Pickin"' is a great example of Doyle's inventiveness. Instead of executing a straightforward cascade approach (where successive notes are played on separate strings), Doyle mixes in single-string technique by alternating his right-hand index finger with his thumb. The resultant line has the fluidity of a cascade-picked passage with some of the grit of an alternate-picked single-line.

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Example 4: Mixing Artificial Harmonics with Normal Notes This lovely, jazzy balladic passage is from Doyle's version of the Lennon and McCartney classic "Girl." He alternates artificial harmonics with normal notes, producing a linear effect that's not quite as evanescent as an all-harmonic passage, yet more ethereal than an all-normal-note passage. To execute these harmonics, place your right-hand index finger over the node poinc- 12 frets above the left-hand-fingered note, indicated in parentheses in the tab. While lightly touching the string directly above the fret wire with your index finger, strike the string with your thumb, and then pull your index finger away to let the string ring. It takes some practice to coordinate the motion, but you 'll find you can produce clearly ringing harmonics consistently using this method. When mixing harmonics with normal notes, strike the normal notes with your right-hand ring finger.

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Example 5: Tremolo Technique T his tremolo passage is also from "Girl," and has a highly expressive effect that captures the song's sentimental, "European cafe" vibe. Doyle plays his tremolo "backward," by his own admission, starting with his index finger. He doesn't mind if you start with the ring finger, and you may find it easier to build up speed playing your tremolo in the order of ring, middle, and index fingers.

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Example 6: Behind-the-Nut Bends Originally inspired by the banjo technique of stretching open strings with Keith tuners (named after their inventor, Bill Keith), Doyle adapted his own style of reaching behind the nut and "pushing" the 2nd string up (towards the ceiling) the appropriate amount (usually a half or whole step). Note that in this example, you must hold the bend in place and let it ring while you play the open 1st string, before releasing the still-ringing 2nd string, in rhythm, back to its original open-string pitch (A). The bending is made slightly less painful to your left-hand finger (you can use either your middle or ring finger, and put another finger behind it for added support) by the fact that the string is tuned down a whole step to A. When practicing this technique (meaning you'll be playing it over and over and over), it might be helpful to tune the entire guitar down a whole step after you initially tune to Gsus2. But it's worth a little pain, because this one's a real head-turner. Doyle uses the behind-the-nut bend on "Howling of the Wood," "Celtic Cowboy," "Wabash Cannonball," and the song this excerpt was taken from, "Birmingham Steele."

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Example 7: Frailing Banjo Style "Howling of the Wood" is a haunting, evocative work that balances heroic virtuosity with humble plaintiveness. In this passage, Doyle evinces a frailing banjo sound by strumming the up-stem notes with the backs· of his right-hand middle and index fingernai ls (in the folk guitar "brush" style) while playing the down-stem notes normally, with the thumb. Note the wind-in-the-wires, mountain flavor of the passage. If, in your finger brushes, you accidentally re-strike the 2nd-string thumb note, don't worry; that sort of randomness is all part of the frailing ethic.

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*L•ghtly brush stnngs up and down wlball of index finger rapidly at first, then slowing.

20

BIRMINGHAM STEEL Tuning:

® =D ®=G ® = G @ = A @= D <D = D

Freely J = 96

"' '1 j.l • u ., -

G

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wlthumbpick & fingers

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1;1

hold --- -i 1 r----;~ ;- - -- - --~

,,,_ ., . . ,

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*Throughout song, all open stnng bends are executed by bending down on string behind nut.

G9 c

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Composed by DOYLE DYKES

Moderately, in 2 J = 136

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

mf hold - - - - -- - - - - - - - ·i

~

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fl .. ....-::~: d 1 ~.J u - r - r -- r -

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1;1 v

v

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> fl ~o~ It 11 n u **r ~ -

>

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**Strum beat 1 w/thumbpick. t Unison A on 2nd and 4th strings.

Birmingham Steel - 7 - 1 0664B

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v

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D Dsus -" l"l ~ 2 . •

t) • • • > = = =·' • D • ~ • ..... ::::: ::::: ::::: ::::: ! .. ":- .. w: . ...... .. -... .. -...

11 / ·- ·- ~ :..-.... .. -:. -~ .. -:. --- -~ ..,_

g ·- ·-- -To Codal.

D D7

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ff' • •

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::::: ..-... .. -... ~ ~ _ ... _ _ ... _ ·- ·-

Dsus2 - .8" ~ ,_...

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~ ::::: .--...~ ~ .t"~ ::::: ~~ ::::: ::::: ::::: ::::: ::::: ::::: v . _..

::::: ::::: ::::: ::::: ::::: ::::: ::::: .., .., .. .. .. .., .., _...

D Dsus2

. ff".~. ff' • . ...___... I"" I"" • • -::::: ::::: .. -... . -:: ~-... ~

..... A .., _ -~ ·- ·-

.. . .

::::: .. -:. A _ ... _

07sus *ID i

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i m m v ,., v 1"'1 v ** t\ ~

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v

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• Position R.H. over soundhole and strum upstemmed notes w/index (i) and middle (m) fingers as indicated (next 6 bars). Play downstemmed notes w/thumb.

"""Unison Don 1st and 2nd strings. 06 -.. '\

- -

r --r ... ... ... "' "!! ::: "!! "!! "!! "!! "!! ": ": ": ": ": :; ~ ~ ~ ~ ~ . v - - -- ...

v

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34

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Timing: CALEB'S REPORT ® = D ®= G @ = G ® = B @ = D CD= E

Moderately bright, in 2 J = 108 G

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37

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38

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--

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39

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r--'1 I ~ I I_ 11 ~ I I

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• Codal Am? 07 B VII - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ., 5/6B Vll - - - - - - - - - - - - - - - - - - - - ·

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Am? ----- -------------- --- -, B Vll - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -,

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41

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ft v .. ...

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~ r r r r r r r r r r r r rit. harm. -------------------------------- -- --- ------ ------------------------------- --------- ----------------P.M.-------------------- - - - - - - - ------- - - - ------------------------------ - - -- - --- - - - - --- - -- ---- - - - - - - - ~ ---

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v v v

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g v v v - v

*Refers to harmonics only. Caleb's Report - 6 - 6 0664B

w w

v

.... -v

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42

Timing: CELTIC COWBOY ® = D @=G ® = G @ = A @= D <D=D


" fl ~

u

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fl lol

u

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D ... g

Moderately fast, in 2 J = 156 Dsus4

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c; - -- -,e. ,e.

mf w/thumbpick & fingers

hold throughout ~

\ V / V

v

v

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*All open-string bends executed by bending down on string behind nut (throughout).

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r - r - r - r -r r *P.M. throughout section hold --1

I ,..-.._, r- ---.

v - v .---- v . - v v . " A v v v

" A v v

A A

v v

*Refers to downstemmed notes only.

G7

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r r - r -r - r --r r hold - ·i I ,..-.._, r----,

v - v ___.. v - v v

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Celtic Cowboy- 10- 1 0664B


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... ...

Bb7 BIII ------------------------------------------ -------- --------------- -- ---- - --------- -- - -------- - ----,

~ u J. }hj ~ J. )hj

-~

I 1. 1-" 1--J. )... )... I )... I L J~ ]__._ J. )... )... I )... - . . . . u r 'I - I r 'I - I r 'I - I r 'I - I q- qr qr q-r r ... ~ ~ ":" ~ ~ -:r I - ... - - ... -.n - - - - ft ft ..... "'

... ... "'

... ... ft

.. .. "'

.. .. c ...

"' ..

"' ..

"' ..

"' ' .. .. .. .. C7 To Coda. Csus2 C~sus2 B V - -- --- -- - ------- --- ----- ---- ---- -- - --- - -- -- --- -- --- --- -- -- -- --- - -- -- --- - -- --- -- - ---- - --- , B V1

~ u ~~. ~~1 I j~J~J t-._ t-._ I t\ ~~. ~~1 I j~J~J t\ r: ~ ... . . . u r I - I r I - I r I - I r I r Ar r r r strum - -- -- - - -

~ .,. 'T" :::: ;,.. ~ ~ ! .. v v

Ll ... -... ... ... ... ~ ... -

v

Dsus2 BVII ------------------- - ---- - -1

> ,.., u -&

u r· >

-- --- ·i

,. I

.n .;, .... .;, ~

'

Dsus

; fl u I ~I

~ ---_-&

I

ft ~ ,. v 'J., " I ·"' -

Ll -... ...,

"' Celtic Cowboy -10-3 0664B

>

J r ~

.:.

.;, ..

----&

-

.,. ... ... ...

...

---r

-

v

" ~

~ ~ ... -... -

I

..... --&

" -" v

"" ~r -... ...

...

-s:ti. ~

---&

... v

-D

!:_) ... .Q. - -- -

----&

~ ~

~ :: :: :: ...

v

harm. - - - - - - -- - - - -- - -- -- - - ·i

J ,.;,

:. \•

.!. . * Bend stnng behmd nut.

1.

), \ I

• ---&

I

""' - .-. -v

J

. .

. .

45

2. Gm

1\ JJ\ ---- -; -- --- -- -------- --------------,

~I - 'I ~ri I ri I ri ) I 0 l ri

u - • -_-e. r -r r r

hold -- --- - - -- -- - ----- - ---- ------------i

I I

\ jl - ---------------------- - - --- - - --- -- -- .

"" -- " " .... - v v v v v v v v v v

I .,, -v \ V \ V } v

.n v .... v

u

"' v

*Strum upstemmed notes w/index fingernail (next 3 1/4 bars).

C7 Gm6 BV - --- - - ---- - - - -- - - - --- -

I 11 I 11 I ,....-=:::,

h J fl I ~ I I I I ~ ~ ... ~f':1 ~ ~ ~

~ -t.. I T p__;r . - r r ,r - r r I - I

- - r r r " ~ ... v v v v .r ~ ...,

I .., 4 v - ~ ;.. v v v .., ..., -... --.:r "- - "- v v

~ - ..., ~

v -Gm ----------- ------------ ,

fl I rl )h)l I ) *n I ri I ri I n I n I n . ......... -u r I 1 VJI I I I T I r

" - - " - - " -.... ..., ~ .... v v - v- v - v v v v v v v

" I .., v v ~

4 v "- .., -..... ~

~ ..., -- ,J

*Strum as before (next 3 3/4 bars).

Gm6 C7

, I'} I I 11 I n I ~ I I I I ~ ~

BV - - - ------------- - -- - --

~ ~ f.1 h J ~ ~ ~

~ ~

u I I ~__;r . T r ,r - r r I - I - -- - r r r - - - -.... v v -..- v v ~

I - - - - ..., ~

.n v v v- v - -.,-ft ..., .... .... v "- ' - "- v v

c v .., ' v v

B~m7 - --- - -- -- - - - -- - I B III - - -- - - --- -- - - - -- - - -- - - - - - - -- -- - - - -- - - - -

~J ]1_:-j --- -- ----- - ----- ---- --------- - -- - ----- - ---·

1\ I K:--1 ! I 1.. 1.. I 1.. I *ri r T I 1-.,J n~J n~ ~

~ . u r I I r I T r - -r -=- I

r - -r r " - " .. " " ... .c ~ ..., ~/ . .., --z ~v .., .... ...,

I v .. .., v

4 - - ..., .., v .... .... .... .... u -..,.-"

v

~ ..., .... - -..., .... ...

Celtic Cowboy - 10 - 4 *Strum as before (next 2 3/4 bars). 0664B

46

, fl J

tJ

....... I

.Ll .... IJ

'1 I

~

....... I

4 .... g

'

, 'l I

~

....... I

n .... IJ

fl I

tJ

'r

B. .... ~

"l ~

~

....... I

.Ll .... g

8~6 ~ ------- --- ---- -- -------------- -- --- ----- ---------------- ----- ----------, BVIn --------------------- -_ j n 1 n I il l J I I I il l ~ ...

~ 1 h JiJ_) h - - -I I 'I - I r I I r r -r r .. .. . . .. . ~ ; , ...

~ -..- .... .. ~ .. .. .. ... ... ... .. .. ...

... ... ... .. 8~

-------------- ---- ------, Bill ----- --- ----- -------------- -- --------- ------------- ---- ------- --- --- ----;_; .tJb.J J ~ n _J n ___ J n _J n ___ J n_J n~ . r r r~ t'

.. - - .. .. .. - - " " :: ;-,. ., ·- ~ ;,--.:T --.:T ... - .. .. - - J

" .. ..

... .... IV --oJ "" .. ., " .,.. y ..

... ...

•Strum as before (next 3 3/4 bars).

B~m6 E~7 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -, 8 VIII - - - - -,.:;..::; - - - --1------_ j n _J n __ J r---, 1 J I I I il I ~ ... h J;J_; h

I I ~I

.. .. ... ...

- ~ ., .. ..

- -------- ---~~--------- ·

~ J.

r r -:: ;-,. .. ,_

., , ... ,.,

... ...

Dsus4

I 1\,

- -~-& -&

I

f""\ - . ;. , , v -~ .,

.,

.

.LI

Cl

v

---r

...

.. .. Dsus2 BVII

> -&

r >

-I r I - I T r -r

... ~ -... - .. - - .. - -..- ... ... - .. ' .. -... -..-.. .,

-- ----------- ---, >

J ~~ ... ~ ----

r ~ - - -- - -- -

-& r -&

harm. -- --- ------- -i I

... )

' ,. f ) {

v

I j, ~ I I. I

.... - --.---

-& -&

I .. ) -.... ... ,.- ... v , ...

v

-Celtic Cowboy- 10- S 0664B

47

G5

II I ! *ii ii ~ ii ii ~ ii ~ ri I ri - - .--.. ~ . . . . . -tJ

~ r T._., I I I

-" v v " .( ~ v " - " v

v ~

v -;p .(" -v·

~

~ --. . ~ ~

--z[ . ~

"" ::: c v

"' • Strum as be fore.

rl.

II I I ri ri ! ri I ri ! ri I ri ~ ii I ri - - - - . . tJ I I I I r r

ft - --v " - - -v --v v .

ft -v

ft v

-" " .:. --.- "' -v "

v ., T ~ ';' 7\- ::: . ··-:...::· " " -n

"'

f2. II I ~ ri l 11 ! ri l ri ! ri l ri ! ri l ri ut_ - - - -

tJ I I I I I l v " v v " v v v " ft

v

::: :: :::

-;p :::

,:: ::: "'

T ,:: - -ol

""1i ol

-z "'D"

""

1/4 _) 0 5

I 11 ri I m J I ii I ri '}. ii '}. I ~ }, ---"lll'\' . . . . V__.;l r _ u v__.~l r 1/4

tJ rr r _) .....----.... ft ft ft ft

-;p " v " " v " " 01 " .,

" ,- . y ;' ~

--z[ . v - " "' " v

" "" .( ~

"' -a- ~

" v "

l\)5 ,........_ ,...--.... ri l r1 ri l L. J I I I f r I '}. II ~ \. ~ ~ . . . .- 1.1

~ - r;;· v.. . .-~ 1 r _..., I

-t) -

r ~-r·ft ...-----..... .---.. ft -ft ...... " " v " " ., ... " - " .(" ~ --. ,! ., .. "' " ... - .( .

7[ " "' " " - " ~ .":, . .... ~ ,_.,.

"'D" ~ v

Celtic Cowboy - 10 · 6 0664B

48

D.S. ~ al Coda ......--..,

~ 1\ .r.l L j l I 1 I r _....-..._ ......--.., * ----u - - ·- - .. ., .. .,~ .. .,-:J. --

-& -~ ... r--

'9" .. .. " .. ... " ,.( "' ~

I .. .. ... "' " ,( ;.

.G " ... " .. "' " .. .. "' ~ "' .... .. .. " .. " .. "' " .. IJ "'

~ .. .. ' " *Begm alternate ptcking w/thumb & m1ddle finger . • Coda (BV) ----------------.,

Bb7 Bill --- ---------------------------------------------------------

* 1\.r.I-.J n ~· j)_....j ,....--...._

~.n,-... J ~ ~ I L J ... _,_ L-.J n ....--.._ . . tJ r I r r r 'I - I r ~_.~r· qr

., ... ., .. .. .. .. '9" ~ '! ~ -::_....-..._., r. ;: '::. ':: I .. ~ "" .. .. "" ""

.G - .. ..... p - p - .. ..

~ ... r;;J. .. "' - - -..

*Strum as before.

C7 ----------------- -- -------------------------------- , BV--------- -- ----- ----------------- ---- --- --------

,; fl .r.l~ J ~.n_ J n __ J ~.n_ J n ~~. ~~1 I J~J--J n-J n -. ~ - - .

. tJ V.-~1 I ~Jr· r r I - I r ~Jr· i

~ p p p p ... ;: ;: ':: ;: ;: ;: ;: ;: ;: ;. :; ~ ::; ::; :; :; I "' "' "' "' " ., " . . B. ,( "':.. .. ., "' - .. .. ..

~ ;.. .. .. ~

.. - .. "" "" .. -C"sus2 Dsus2

-------------- - -------- ---------------- -- - -- - ----- ---, BVI avn-- -- --------- -- --;:;.,

,; fl .~.~~J rl_ l n_ .

tJ v_..~l I

'9" I ;. ;.. ;.. ;..

4 ~ ~ .. ., "' .. ... "' ..

g

~.JD ,;(\ .r.l ~~

~ + - -- -

u - -- --~-& -&

harm. - -- --- - -- - - - - - - - - - - --- - -i

"'" I t .G ) ..... {

IJ

' Celtic Cowboy- 10- 7 0664B

1 ' I

I

~_..~r·

~ ,_ ..

rl_ l ti ... > J -&

I ~ r· r ~ ---

> r- -strum w!nails - --- ~ ~

~ ~ :. :. ;.. ;.. :; .;, :. .. "' .. ~ !... .. '! ..

"' "

Dsus4 .

I 1'1

c;; - ---& -&

1n

1\ .. ·- - "'

" v

49

G7 ----'-------· L. J .....--....

I .. .LI I ~!..---.....: . }, I I I I l /-----.1 ,....._ . •

t. .._ - • - r - r - r - r - - r - r -~

- -~ r -r

*P.M. throughout section hold --- ·i

~ I

,......----__ }------, ... _v -- - ., ~ i.. -'

I v \ V f -v ' u v ft

l1 v ft

v - -...... v u v .A

-v --v -g v v -"" v v · v


G7 _) ~ r-"1.--..... ~.J

.....--... I " II ~ ,......._

.....--... I I }, I 'I I I l ;::::;;-......1 Lr-I I

_J------,

. t.J - r - r - T - r - r - r T r r - r - r - r -- - r r r r

hold ---i hold - -- - i hold - i

} I

; ------- --~ J--- ~, j- -~ ---, -~ ... ---' -- v v ·- .. ' u ~ ;. A - " --I v v ,V J v \ V T ' v v u

A ll v v v

...... v v u v v v v u

-o - v v

" u

_) _;---- --~----- --~------:) G

II .LI-.....--...

I l I l r-, .-...._ I I I l

t.J - r - r - r - r r r r - r r - r - r - r - - r r r r hold -- ·i hold --- -i hold -- - -i

I I }- ---~ --~ }----- -, ) j- -----~

~ - ---- - " - ,.: , _, -, v u v \VT v \ U /

·a v v

...... v v v v v v v

g v v - v -v -v v ·v

Gsus2 G

J-~d::=:::~·---ffi_-------- --- -----~------_-----_----_----_----· j

t. r r r r r r r r r r r r r r r r hann. ----------- ----- -------- ---- ----- ------ -------- --- -- ------------------------------- --- -----

hold ------ - ----------- --- ------ ---- -- ----• ~-- ------ - - ---- ---- -------- ----- --- - --- -· ·-.. --. ·- .... \ I &. J \ 1&. /

71 ._ ... -;.. v v v u v v

I: v v

u v *Bend string behind nut.

Celtic Cowboy - 10 - 8 0664B

50

-- ~---------------~-- --- ---~------~

ft ~~ J I I I I I I I I ri--... •

~ - r - .r - r - r - r - r - r - r r - r - r - r -- -r r r r (harm.) - l hold - ---- -1 (hold) - - -- -- - - -- - - - - -- 1 I I

--- - - - ---A-- - -- - -- --~ }--- ----~ j --- ---- , .... v

.fA v

A ' A v

" ' A

I v , ... , v '"' v \ V , A

n A v

A A A A

"" v v v v v v

A v v

~ v v v v

v v v v

D sus2 G sus2 ~- - - - - --------

*Jfl ---:1-,., ~ ) I I -~ i~- ... . J

t) - r - r - r - r - r - r - r - r - - - - r - r -- - - - - -r r r r r r harm. --- - - - - -- - --- - ------------------- --- - - -- - - - --- - - - - - --- - - - ----- - - --- holi ~~~~~ ~ ~ ~~~ ~~~ ~~~ ~ ~ ~~ -

) .... (~

I ~~

.0. A , ... ... " v

~ A A A " " '

., v " "

- ---~--------------~--------~--------~

I\~~ I I I I l I I I l r--1 --... - • t) - r - r - r - r r - r -- -r r (harm.) - -l

hold -- - - - - -- -- - - - - - - - - - - -1 (hold) ---- - ------- - 1 I I

------- -;:----- - --~ J - - --.: - ----.,_ r- -....----, T v v ~ " I v , ... v v v ..... n

"" v

IJ " A " A

' ., .,

G7

L. _Fl'\1 ,..---...._ !~---------------~

"' ~ ) I I l I ~ ri--... . •

~ - r - r - r - r r - r -- -r r *P.M. throughout section

hold - - --- - -- -- - ·l I

~ j----------~

.... v - v ~

v

I " 4 " A " A .... "

., ., v

~ ., v

v v


Celtic Cowboy - 10- 9 0664B

h [-- -------- ------~ ~ ..... ,v

v v

" " A v -" *Bend stnng behind nut.

- r - r - r r r - r -

r r v

" " " " " " " " v ., v

. . . . - r - r - r r • r - r -

r r A ., v v v

A v v "

v A .,

i I I I

r r r r r r r ... v .( ;.

I - v v ... v

v v v v - -' - v

L. J ....--.... i ~

~ ~ I 'I I I I I I I I

~

t. r r - r r r - r -r r .....----..... ... v - - " - v

~ - - - - v

4 ,. ,. A .... .... v v ,. v v

.. ~. v .... v

v v

fl li

------~------- -~------- --~

.. L"'l I I I l I I I l

'-

... !

.l1 ... ~

...

....

~

- r - r r --r (hold) ---- ·i hold -- --1

--------..._ }-------...._ ,. ;;;;-- v ,. ,,....,.-v , .. , V \ V

v v

v

-

L. ~1,.....;-1...--... .... 1,__1

- r = r ~ .. -.... v

v

-

_c-.

r ... v ,.

.... v v

I

- r - r r -

r hold - - - - - - - - ·i I r--------,

,. · ~ · v , .. ,.

v ,. .... v v

v

v

r r A~

r -

v ...

v v

v

-

...-

I

v

v

1'1 ~ ..-..1 I I I L. j I I l~ ' ~

t) -

r r .---... .... .... v :.

I . v

.l1 ..... ..., ' Celtic Cowboy - 10 - 10 0664B

•

,......--....., v • v ~ :.

v . v

v - - v ...

v -

l

r r r r -_;----- ,

:;:::::=-.... 1 I

r r r r hold --·l I .r -- ---,

51

... v ,. v ,.

v ...

v

v

L.J ~

I 'I I I

r r - r -r .....----.....

v - v

- v

v -,. v

v

L.J ,...-..,.

I 'I I I l

- r - r r --r A~ .. ...

" ~ ... v ,. v

v v

v

v

> L. ~1,....;-1...--... .... T_ l

.. ... v

v

-Slower, freely

>~ L.J I 'I

F ~ ,......--....., v - v

,.

r ... v

v

v

,...--._ I J

•

-,. v

v .... ,. v v v

v

v

l

~------ ----- ----

I ---..1

r r = r r hold --- --- -·---

}------- -- ------- v

v

- -A v

A v

L.J t t t~r-1 .. - r - r r --r ~

... v .( ;. v

v ... ... v

v ... v

->,....---.....

J I

r r r .r::-;.. r .. ... v .. ...

• v

v

v --v

G Gsus2 G ___r-- -----,

i L-- 1 I:'\ ~

r r· u '..:I

I }--------, i ::: ../ ::: _./

::: v

,. .... v v

52

1\

u

... I

Ll ~ 1;;11

'

1\

u

... I

Ll .... ..., '

Timing: THE CHANGING OF THE GUARD ® = C ®=G ® = G ®=B @= D <D=E

Slowly, freely J = 68 Am ;msrr.

3114

"' fl n J. -

t.. ~ 1-...J mp hold throughout

wlthumpick & fingers

... - -~ -

A ... -..... . 1;;11

0 (4)

lrr-1143

)1 j .

v

- . --

F

tl5fr. 113121 BV ----------- -,

J j J

- r V I

~ _.,_ - ... -

~

., ...

0 Am lftrrr. Bsrr. 3 21 T 3241

~n :t

-- .r:-., ... ft

) ':' ) -"-t- t ... . _ ... t ( - --


n 1n· 1J ~

., ft ~ ~ ... "' -" .

ft ... ...

*T = Thumb.

p Am Am(maj9) Am Am(maj7) Am9 C(9) D9 D(2)

tl5fr. 113121

BV --------- --- - ...

J J.

~ .r .,_ ., ... ':'

v

p v ., ...

0 17fr.

v

~

J I

., ':' v

07 '16fr. 24

115fr .• 5fr. ;msrr. 3111 2114 3114

~ -.

~ -J

L L..--1

., ... ft

~':' ~ ~ (':' (':' v

l~ l:: v

'

231

,....-:::::, lnsn ~nP ~ d ~ -

~~5fr.

2114

-

ft ... v

-

c

• 2 14

•

mm5fr. 1114

I 134

mrn7fr. 11314

516 BVll- --,

1 ) **j J . ., ., f.lol - -

I 113444

Bil - -- -- -- -,

. . . - - ~ -.. ,.___... , ....

_J~~ ~

... !.

t ':' t ':' -

ft v

~

" ., ft

~ ~ l !.," ... ':' ':' ( ':' ':' v l ~ ::

... **Throughout song, when chords of more than four notes

are arpeggiated, always play top three notes w/R.H. index, middle and ring fingers. Lower notes are brushed w/thumb.

AJ,(2) Dbmaj7

I 11 314 • 113111

5/6 BI --------- ---------, BI ---------,

I !,. • I J - :...l...JL I lJ - -T ~~ r r r I tJU r u EI ~ ... ... _.;;._ .... ... ft ... ... ... .. ;,. l _;,. ... ~ ...

" ':' s ~

v v (':' ... .... ) t ( v . v ':' ( v - . v l - - ~ - t - , ... - - :: '

v

The Changing of the Guard - 6- 1 06648

© 1999 Heavenbound Music (BMJ) All Rights Reserved

FIG

il T 321

"'- ft I

tJ = • -"r' I

.0. ;;; v

~ ... ... g ...

Am

I 2341

G7sus G7 C(9)

I 34 1 I' 141

2/3 BID---,

I J I . . . ~ ~. ~u

):: s~ t;: ,.,

C/G

I 2 I

~

:: v

~"' ...

C(2) Cmaj9 11 Sfr. 'I Sfr. 11314 11314

~ ...

)j

I r 1

., ~ .,

v p ..,

~ ...

D9

I 113444

l J

t;: ~ ,.., ...

D(2)

Il7fr.

11314

G/B

I 231

·~

r

F(9)/A

I 23 14

.~ . n . .

w ~. _j 3

.,

v ~ .... ..,

~ ...

G 17fr.

231

G7sus G7

I I 3 14 3 4

..J. I -.

r._ ~

~ ., v .... ...

"' v

G7 ~~6fr.

24

5/6BY·--· BII ---- -- -- -- -- .,

G/C c 'ISfr. I ll

~

T I

.0. ... IJ

"r' I

13 4 2/3 BY ------- ,

·~

- -

r L -.

.,

A tempo c

I 2 I

I

v

... v ... v

v

~

~

u ... ~ ...

., .,

C(9)

11 134

.h J

., :: .,

... v ... v

The Changing of the Guard- 6 - 2 0664B

2 14

•

- -u ~

~

:; v

"' ... .,

~

T

v

f -

GIB

I 231

.. I

lll

"' v

G/B F(9)/A G7(1.5) G7\1)

I 23 II

I 3 14

I 234 I

23 II

I J I J I J I ~

/~ I v - I v - I v ~ ~ r /r"

rit. ~"" ... .,

., - );:: ):!

., t:: ., v s::: ,., ... ; v

"" v (;: . v v

, -F(9)/A G7sus G7

Ill 23 14 3 14 3 4

Am

I 2341

CIG

I 2 I

Cmaj9 · 'ISfr. 11314

1 r=I=I~...V:

5/6 BY--,

-, _

r "'

~ .,, ., ft VA

v ., v v - v -., ., ., ., v -- v

v

53

54 D9 D(2) G G7 G/C c

I '17fr. im7fr. '16fr. ~~Sfr. B 1131 4 231 24 13 4 2 14 113444 Bll - - - - - - - - - - - - - - - - - - , 516 BVII - - - ' 213 BV --- ------ ,

r1~ ) n lDsn ~nv ~ " .. J~J~ ~ r--"'1 ... ••

r I rr LJ~r-rrJ , _ T::. - / • .._.,,.

:!.. ~~ -* r ·~ A.H. A.H._ A.H._ A.H. - "' ..

I v - · • 1 v .

~ '"" A v v

... - - v (~

"'' - - ~

'"''" J - - ·= .... .... v v v ;;

.... v -*Pluck harmonics w/thumb and subsequent standard notes wiring finger. ·

Ai>(2) Bl>sus(2) B~ Csus c

B 2 14

I ;m3fr. 113&. I 11 31 11324 11114 2 1

516 Bill - - - - - -- - - -- - - -- - - - - - - - -- -,

b

Csus2

I 14

CIG A 7sus C7/B~

Ill 2132 4 321

B~maj9/F tl5fr. 143121 134121

sv-- --- -- ---- -------- ------------------- --------------------------- -

~ ~J j r 1 I ~ J fJJ n - .. [1"-r' I J r !_ tu ~r ~ ~ r

-" "' p .. p p .., v .., .., .., ., .,

. .Lo . v v v

v - v v -A A ... u v A A

A ... u A

v v ... .., .. u p v v .., ...

F7 fl5fr. 143121

B~maj9/F tl5fr. 134121

---------------- --- ------------------- --------------------------- ---,

The Changing of the Guard - 6 - 3 0664B

J •

r .. .,

.. .,

E~7 fl3fr. 143121

v

-

b . .f"J_J ~

t_

" v

" v

v - .. .,

J ,. -

A

u ., ...

v v v

Blli- ----------- ------ -------------

A~maj9/E~ .3fr. 134121

---- -- --- --------- ---- - -. ,., .J

tJ bf r T ~ ll ... g

... .. " v

v

v

A tempo c

ii 2 I

... ..

J I I ~

I.....J u ... ...

" v .,

v

C(9)

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G7sus G7 FIG

• 1211 I 1411 • 3214

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2341

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I n -- - - -

r ., ., = ..!! bf'-' rit .

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v " v

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• 2 I

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v v

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m I 2 I

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r_r w -" .., - -- --...

v

BYII ------ --- - -- - - --- - -------- --

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56

Crnaj9/G ~~7fr.

134121

c

I 2 14

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, .. ..

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• 5fr.

~~ ' .. . ~ ~

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J~U ;: ft

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.5fr.

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E lrr. 113 24

Biv----.,

E(2)

'19fr.

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~. ...!!

rit. ~ ' ft

;: p ~ L - n,~ IV

·~ v ~ ~ _}" l "· ~ .. .. ( .. .. ~ ..

Crnaj9/G

~~7fr .

113344 113121 143121 134121

A little faster Am Gmll C7

~8~ ~6~ ~ T 3241 3214 3114

J: )~ :~

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ft .. 4vft v ::: · ~ o_v ~ ~ .. .. ..

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Bbsus(2) '13fr. 11324

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B~ Ab(2)

lrr·l 11114 11314

516 BIII - - - - - -- - - - - - -- - - -- - - - -- - • 516 BI -- - ----- -- ----- - - - - -- -- --- - -- - ,

J 17\

Bbsus(2) B~ '13fr. ll3fr.

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rit.

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113121 BVIII - --- - -- - -- -- - ---- ----------- --,

li? J J J ~1 - I

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I 341

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58

GIRL Words and Music by

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Moderately slo:w J = 104 (JJ = J )) Am

JOHN LENNON and PAUL McCARTNEY

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3114 3

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• Sfr.

3111

'15fr .

341

ll3fr. 2431

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11 .. I ,~,)f~ J - -. . t) ~ I - - I - I

f:otd throughout

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4:> 1965 Sony/A TV Songs LLC Copyright Renewed All Rights Administered by Sony/A TV Music Publishing,

8 Music Square West, Nashville, TN 37203 All Rights Reserved Used by Permission

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Dm

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l I J J I I I I . . ~ = I ..

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Fmaj7/A ~~Sfr.

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G7

I 3 4

r---3 ----, 3 . .. n I J I I

r I ~ I p

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p ... v v ... .. ..

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t.

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fl

tJ

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sv------ --------------,

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3 n J J ~; 3 J J

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- · ~ - -· . ~

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Dm lrr. 321

m i p a m p a sim

I

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v v

~ ,

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3111

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Am7 .5fr. 1114

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t::: ~ t::: ~ ... , .. . v ~ :: ~~ v --

62 Am .Sfr.

3111

AI3~9) A~) liSfr. 1243 1231 341 2431

l/3BVI-- --------------- ---- --- ----- -,

Dm

I 231

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t. ~c_

p p ... p ... ~ I ... ;.

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t.l ~v

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rit.

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13241

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J-,j ... J J II'-

~31 c '::: . ~ .. ,-: ,. • _., u

.., .. , .. -.

G9sus ~~Sfr.

111124

.., ..

l I

I

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E7(i>9) .3fr.

1324

213BV-------- - -- -- ---- ,

..,

... .,

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"""'p

:: :! :: .. v

p ...

..,

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ll 231

A ..

I .J J I ] I

~u .. ., .. -.. .

A

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G9sus ~~Sfr.

111124

213Bv------ --- - - ---------------, r ~ A.H.

... ..,

p , ,_,

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r. \I - \I

A. H. A.H. -----------~

... u

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i 231

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.... 0 P,.,_, "'-' r I

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1324

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Asus2

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2\ ~ I ~

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~~~fr. 13241

... )~J.

r 1

... ....

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A IP \

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

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.,

p p ... -- ~

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i 231

Jj I r . . I ~

~

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... JJTI I .

u ir .. ..

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I l J J j .J . . ~ J:.-

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Dm

I 231

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-IV

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'

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r *- - -v u u

v

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J I J .J I I .J J I J

r ~ ~

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32 J 23 43

I I I J I J I I I

i - p -;. -

r,:it. " " " -v - -"

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" .. v v

" v

E7

JJJ I J J J ~ .J J J J ~J J ---

= ~ - - ~ ~

I V IV ' " •v ov IV -

I I -,

..,

-v

*Tremolo executed by alternating R.H. index, middle & ring fingers.

Am

II

~ ~

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" Dm

1'1

--.: ~ .... T -n- -""

v

-c

Am

II

t) r ....

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JJJ ~ J JJ I ~ ~ ] J~~~

·-'' '' '' - - - u u v ·-' " '" "" "

Jl~J_.i_.iJ)_.J_.J~ d JiJ

I V I V IV " ' " '" ' " '" ... ... ... ·- ...

J J J i J J J J _.iJJ J J J -- -

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v

CID Dm

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t)

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JJJ J J J Ji+.l I L I l L I I =

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r rit.

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"

G9sus tl5fr. 111121

" " v v

-" " v v v

G9 mm3fr. T 12 4

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G9sus tl5fr. I 11121

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J J J J I .

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.. ~ ~ .. ~ ft".

A. H. .. v

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"!. ':! "!. :::: ;:,

:::: L .. ' ;:, .. .. v

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*While pluckmg harmomcs w/thumb, brush upward wiring finger to sound remainder of chord.

7fr. Ci3 211131

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v

3 I.-3_.J

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v LV v

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.

* -&

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v

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"' fl

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65

Tuning: HOWLING OF THE WOOD ®=C @=F ®=F ®=C @ = c CD= F Composed by

DOYLE DYKES

Fre::~-===========~J----~,~~~7~~.-----~~jl~---~-------~ t.

hann. ------------------- - - - - -- --------------- - --- ------------------------------------ -------· mp w/thumbpick & fingers 1 1r-------

) ~ _) ~ ... ' " '" I \ .....

:::: ·-*Bends executed by pushing down on string behind nut.

C5 l ~ __.)

~ J ~1 J ~~ (-+-) ~ ~ ~ ~ --~ ~ ~ ~ ~ '("5

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) " ) ~ ,., '" , ,, .,

F5

(~ .

(harm.)---- ---- ---- --------------- -- --------------------------------------------------------------------1 •

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,,,, ·~ :::: ·-

C5 _/r-----------

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66

... I

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fl

~

... ll .. I;

.... fl

u

'T' I

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harm. - - - - - - - - - - - - - - - ·- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - i

holdthroughout " ~ " " ~ * ... --- ~---:--- :------- ~i " v v /~ ·~ v v v v v v v ~ v v v v v v

::;;

~ ~ C~--------~1~--~==~~~~~~=-----------------_' ~ -------------- (~~ ~ Q ~

' - - - - - -- - - - - -

simile I I

n ~ v v v v v v v ,::;, ::; v v v v .::;,

!, \ ' I ., \ ' I

!, !_

C\-d ~ F~---------J~----J?t-1 -~1 ~---------------_J ~ ------------ (-+- )~ ~ Q ~ - - - - - - -

h I

"~--... ... ... ... ... ... ... ... ... " ... ... " " " " " " " " ."~ ·-"- " " " " " " v -"-

*Alternate picking w/thumb & index fingers.

" " " "

* ----------------- i

v v v v v v

!~ , ,_1 ·- ,_,

!~

::;; ....

~-~~~~~~J~---==;:7,pr1~===_./-~----~ - - -

' - - - - - -- - - - - -

'-- - - -- - -- - - -u u u _u

simile I I

n ... ~. v v v v v v v t :::\ ,::; " u u u ;~,

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F7 ,.--...,

I J J J I ,.--., I ,.--., ---. . * ~ -3

> mf ... ... " ... " " " " .... " ~ ;. v " " " " " " v " " v v . ~ v v v v v v v -. :: .... :: u

*Lowest 2 notes tied (not struck) on repeats.


... ... ... ... u " " " v ~

I I I

v v v v - ,(;, u v

Howling of the Wood - 11 - 2 0664B

Cmll F7

"l I l I J ~ ~

t. .. - L- -

... .... v ... ¥ ... I .{ ... ... ~ ~ ... ... ... .: i.

.n ... ... ... ... ... ... ... v v v ... ... .... ... .. g

'

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fi I I I J r-4-.

t.. ill - b 6 ... .. ... ¥ ¥ ... ¥

I .{ ~ ..

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F F9 F7

fi ) ~.n::; I thJ. .. ~r ~1 I . .

t.. - r - r - r - r - r - ill r - - - - -r - r - r -

r r r ..----.., ~ " ~

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V A ... A / A. ... ... ¥ .. v v v v v " . &; ... ... v

... ... ¥

A~ B~ - - --- -- ------------- --- ---, BV - ---- --- --- ----~

F7 Play 1st time only

fi ~ ~~)J t) r :..Jr

......---... ... ... ... ! ...

4 .. .. .... .. .., ...


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67

r- 114

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L- \..__ill ~

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l

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68 F F9 F7 To Next Strain I

JJ~ J ):J~.h h:r J --~T~ BIT-. 1\ ,.-,. ,.-... .

. t) r - r - r - r - r -

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~ " '! "

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1,;,1 - v v

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j Play 2nd time only F7 ~

~ ~~ i A .......... J -.. J J ~ J {3'\ "" 1\ J I I I l ~ /~

t) - - • ·~ i ~~ - r - r - r - -

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ll ... "' c v

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) I d: I ~ ~i ~J ,.-... .. -----:-..

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ft -:. :. v ft /

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.,

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C5 Subst. w!Filll, 2nd time

n .b-F; J ) J J i li J ~ - - I ~

t. r I I r I - I r I - I r r r ~ - -

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d~l d I J. J. rJ-. 1 ~ . ---1 ~ : ~ ..:~ f'l :4· . ~ .

t. r I - I r I - I r I - I r r r ..... "\ ::: ::: ~ ::: :..: ! v

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ft .... ft ..... ' ........ .,

..... .,

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., ., ., ., ., "

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C5 (BV) 8~5

F )h . J J J ) .. r:l }hT -:J ~ - - - - - - I ~

t.J r I - I r I - r r I - I r r -r _......-;.. - - - r---..... ., .: ..... ~

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., '!' ~

l1 v , , -... v v

~ v

p ,

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t. - r - r I - I r r r - r - - r r r -

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t. r .....

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1 - J J J J i I - I r I r v ~ ;. ~ ... ., ., - -. - ..

69

J i . Ji ""' -

r I - I r - - -.: ;. ~ ... /

.;, ., :. ., .4 .

~ .. . ~ ~~ ~ : •• .. . .

r I - I r :..- :..: ::: ~ ~ .,

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r ,

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t\ t\ t\ I k

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t.. r r - r r --

r ... I v v

.n - -..... "" v v

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v

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fJ

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I Play 1st time only

} n_

L > cresc.

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': ; v

I Play 2nd time only

>

--- -cresc. r * :: ~ ~ ::: ": '":

L >

ft '"'' ~ ~ t ~ l v v \~/

~ v

n~ n_ = > u >

~ ~ ~ ~ - v - -:; ...

->

- -- - -- - -r~r r

~ ~ '::. ~

v -*Play all notes w/thumbpick (next 4 bars).

~ ~

n_ t..

>

~ :: - - ~

:; ;,. i-

..,


>

n--- n_ > >

:: :: v v

ft _ .,_ ! •v ·-

I

-

~ ~

r ---

r v

A v

n ___ J

---

ft ft r

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n ___ --u >

~ ~ - -• v

-

>

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~

~

~

v

n ___ >

:: v v

. A . _ ... _ -

J.

r v

C7(4)

} rJ_._]J J ~

L ---

* r v ~ ~

v v v

':

v

*Downstemmed notes played w/thumbpick; upstemmed notes strummed w/nails.

n __ J j __ ]J J. . I ---

ft ft ft r

ft

~ ~ ~ ~ v v v v

ft v

To Next Strain

n_ n--- o_ n n > = = ; ;

> > :: :: :: :: :: - - v v v

ft

:;,. ' ": .. ·-ft -

> _n ___

- - - -- - - -

r r~r r ~ ~ :: :: :: ~ :! :; :! ;,. ... ... ft "' v v v

n~ n ___ n_ ~ n

> > >

ft " ft " ~ ~ ~ ~ ~ ~ :: :: v v v v - - -

:-: :: ·- ov

.-__f\

t.

T I

.ll ..... u

....

I'\

~

.... I

.ll ..... g

I'\

t.J

T I

.ll ..... u

.; f'1

~

.... I

L1 .... g

F

J J -[ 'f

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~~

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...

p: ~

~ w

;. ~ v

. .. p:

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:: w

1111

p: ~

~ w

;. ;;: v

•

C/F >

J J n J--,.

~ v

~ ~

...

~ w ~

. ...

" ~ " .. ~

~ v

;;: v v

- -r--_, >

_w

G/F >

w w

n . ,....--...... ~

~ ~ w v

'-~ f'-~ >

:: ..

GIF >

v v " .. w

n .J,...--..... .. ~

~ ~ .. ..

...

~

'-~ f'-~ > ~

;. ~

~ w

GIF >

v v

" ..

n .J--.

--~ r--~ >

~ ~ v

v w

:: ;;: "

Coda IF?

l'l I J I ,.--..,

t. ~ ~ ~

" " " .... ~ ;. " " " ~ ~~ I ~ v .. v

L1 ;;: 1"11 ;;:

·~~g~~ " "


-I

w

v

-I

, .. w

-I

w

..

~

" " v

" " " " "

B~/F

. J J J

l -r· w ;;: ~

w

, ..,

·~ w

Gm/F . • J J

l p: " " " .. '! '!

v v v

~

;;:

Gm/F . .J J J

l p: A

" ~ ~ ~ .. ;. .. .. '! ~ w

-I l

~ " .. v

v

w

I ,.--..,

" " " .. ~ ;. .. v

. J

CIF .

-

. J

~ .. v

v

F >

nJ~~

~ ~ - -

n

" " ;:. '! v v

r-~ >

w w

:::; v

F >

,....--.....

'-~ f'-~ > ~

::

F >

" " .. ..

n ... ,....--....._.

'-~ f'-~ >

v

" .. .. :: ~ w

71

-I l

w v v

w w

~ -I I

" .. .. .. " " v v

v

~ -I I

w .. " " "

2nd time,D.S. ~ al Coda I Gm/F CIF F . . > J J J n . . p: r~

> ~ ~ ~ ~ w v ;:: w v ': .

:: ..;. . ~ '! .. ..

~ --- I

-;- I I

, .. .. v ~ .. .. v ..

v v v v

v w v

72

fJ

tJ

'I" I

11 -!;;l

"' tJ

,. I

ll .... 1,;1

"' tJ

"'' .Ll .. &;;

ll

~

,. I

ll .... ""' .....

"' fJ

tJ

,. !

A .... ""'

Cmll

I

... grad rit.

-... .( ~ ... ... ...

v

-

I I

... ... ~ ...

J

-.( ...

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-"';.. ...

F7 3 3

- L- - [._

... - v ~ .r ... ~ ~ ;. v

... ... v v v ... v v

... -

"-~ ~._..,.11 ii :::; ~ '---... ~~~~~·~·~~~·~·~~ * r"' ~ v v ~ ~ v ~

~~~~~~~·~~~~~·~~ 11 11 11 11 11 11 11

v v v

~ ;' ~ ..r ...

b!. ~~ ~~ ~~ ~~ ~~ ~~ ]I~ 11 11 11 11 11 11 11

simile i m i m i m i m accel.

~ :: :: :: :: :: :: :: :: ~ ;:: ;:: ;:: ;:: ;:: ~ ~ ~ ~ ~ ~

~ ~ ~ ~ ~ ~ ~ ~ ;: ':! ':! ':! ... ... ... ... ... ... ... ... ... ... ... v

*With R.H. approx. over 15th fret, strum w/index (i) and middle (m) fingers as indicated (next 7 bars).

• ~

~ ~ ':! v

. . ~~ ]I~ ]I~ ]1. ~-- ]1. ~~ ~~ ~ ~~: 11 11 11 11 11 11 11

>

... ... ~ ~ ~ ~ ~ ~

':! ":!_ ':! ... - ...

~ 11

~ wlthumbpick - -- - - -

':!

... ... ... ... ... ... ':! ':!

~ ~ - ~ ':! ':! ':! ':! ':! ':! ':! ':! ':! ':! ':! ':! ':! ':! :: ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ":!_ ~ ~ ":!_ ;:: ;:: .. ~ ":!_ ":!_ ':! ':! ':! :: :: :: :: :: :: :: ~ -~ ':! ... ... ... ... - ... - - - - ... ... ... ... ... ... ... ...

F5

~ ~ ~= -~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~· ~·

11 -~ ~ v v ~ ~ v v simile - ---------- -----~ i m i m i m i m accel.

... ... ... "' :: :: :: :: ~ ~ ':! ':! ':! ':! ':! ':! ":!_ ~ :: ~ .. ~ - ~ ~ ~ --~ ":!_ ":!_ ":!_ ":!_ ":!_ ~ ~ ~ ~ :: :: :: ~ ;: -:: - ;. ;. ;. ;.. ;.. ;.. ... ... ..._ ... ... ... ... ... ... ... - ... ... ... ... ... ...

iiil!

~~ ~~ ~~ ~· ~~ ~~ ~· ~~ ~· ~"" ~· ~· ~~ ~!!'" ~~ ~~ -e& ~ -:4j ~ :4j ~ ~ ~ ~ ... ~ ... ~ ~ ... ~ ~ ~ -9-

~ ... -... ~

... A ... ~ ':!

':! ':! ':! ':! ':! ~ ~ ~ :: :: :: :: :: ~ ~ ~ v

~ ~ ~ ~ :: ~ :: :: :: :: :: :: ~ ~ ":!_ ":!_ ~ iiil! ;. ;. ;. ;. ;.. ;.. :. ;.. ;.. ;.. ... ... ... ... .., ... .., ... .., ... ... ... ... ... - -


ll

~

... I

.4 ... .. ~

1\

t.J

... ~ ll ;,..,;; 10;1

1\

t.J

... I

A ..,. 10;1

... ll

t.J

"'" ~ ll ;,..,;; u

-..===-::._

~___-!- - - - - -- -- -- ----~

~ - -~ - - ; ; ~ ~ ;iii'

* I I -- -- --- -- --- - -- --112

/ ft\ '! · ~

~ ~

'"! :;i!l :;i!l

*Bend behmd nut as before.

G~maj7(~ l l) G7sus Al>6

~ ~ ~ ·

v~ \~J, • ' .J...I. ~ b*-e- (q)(q~ bu ~ ~ ~ ;iii' ;iii' ;iii'

~ ~ ~ "! ~ ~

~ :: .~ :: ~ ~ - v

*Fret lowest 4 strings w/index finger by reaching over fretboard.

B~sus2

~ ~ ~ ;: ; ~ :! v

, L,,

~n~

A tempo F5

~ ~ ::: ::: ~ ~ v

,....""'P"' .... - ""1

Csus

~

~ ~ ;iii'

~ :!

:.. .:, .:,

-

Dbmaj7 Dmll

~ ~

b~'~ #~~

~ ;iii' ~ ;iii'

~ ~ ~ '!

~ ~ ~ ~ ::: ~ ... ..,

- -

~ ;iii'

~\ / ~ \ ~

' "! :;i!l

I

'i

~ ~

.",.. :~ :~ :~ '"'

73

~ ;iii'

"1',~ (qf u ~ ;iii'

~ ':;

~

b"1'i

~ ;iii'

.... :.: :.: ~ !

* , .-.. .. .. .. .. .. ~ ..... - __ .. .. .. ~ ... .. ~ .. ... .. .. .. .. -& --.:.__

. > > > slight rit. strum w/thumbptck -- - -- - -- -- - -- - - - - - - - -- -- - --- -- - - - - - ---- -- - --- - - - - - - - - - - - - - -- -- - - - - - - - -- - - - - - - - - - - - ·~

... ... ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ --....... ....... .... ,.. . -,.. .-... .-... . -,.. . -... . -... .-... .-... .-... .-... .-,.. .~ .-... .-... .~ ;"'..,. .......

-----~~ : ~ ~~ ~~ ~~ :~ ~~ ~ ~ ....

·~ · ~ · ~ ~~ ·~ :~ ~~ ~~ :~ :~ .:~ ..... ------!~ :~ :~ ~~ .!~ : ~ ~~ :~ : ~ : ~ :~ !~ !~ :~ .!~ ~ ~ ~ .~ !~ !~ !~ - ---....._

!~ ! ~ !~ !~ :~ :~ ~~ :~ :~ :~ : ~ : ~ ~~ :~ ..:.~ :~ !~ !~ ! ~ !~ ....._ -·- ·- ·- ·- ·- ·- .... .... .... .... .... .... ·- .... ·- ·- ·- ·- ·- ·-*Strum in eighth-note

A tempo rhythm while sliding.

F G/F Gm/F F . > > • . .. n J~ .. ~ - J J n • ......--... .. • • . . [: f::=::-a- I l r: f:=: 'f > A ... > ... ~ ~

v - ~ ~ - ~ X ,., . .:: ... ... :; - ;. - ;... - :, ... ... .:: . " X ... :: ..,

" ~ X X ~ v v v v


74

1\ ~-- ~ -t) ~-& I

~-&

ft ft ft - v v v

I v

ll v

..... g

1.

,... ~ -~

t) ~-& I ~-&

.... v v

I

.l1 v

-... D

Gm/F . .

., "' J J ] J &

t) r --

r ft .... - ~ ~ -I :.. v u :!

.l1 ~ ~

..... u

D ~ v

1.

ft

v

v

. J J

I r:

ft

v

" ~ v ..,_ v

'! v

~-6 . . L ~r

v v v . .

. J J n

~ " ~ ~ v ..,_ v v

'

. - - -- r r r " " ~

v ...

GIF > .,-.... ~-& r~-e

> v v

~

:. '! '! v

F

J . .

r '!

O 4VA v . ... -

~ v

~ -I

v

v n. v

J ~

--r '! v

4 ... ·-n. v

Gm/F CIF

l

v

G/F >

.h J-~.J _}_

i = v -

v

. •

r: ~

" ;:: '! v

v

. J J

v v ~

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- --r v

v

" v

F G/F

F

n J~

f:=: >

::: -v v · ~

~

~ v

v v

v

> > j)J--,J .bj,--.._.1 ~ - J J J J _k ~ -- -

_}_ - r -' - -- - - r i - - -

r r r ft ft " n. " ~ "

v "

u v u ~ ~ " ~ ~

v ft

v v v u :! u v

4 .. A v v

~"" v ;,. v v

~-.... v

'! v v v

v - v

12· D.S. ~ al Coda II I

Gm/F CIF F >

Gm/F C/E F >

,...

t)

.... I

ll -... D

.....

. J J

r '! v

~ v

~ Coda II

F 7 II

. J

'! v ::: -

t.. 1::

..,. I

" " ll u u

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r --r ::: v

v "':

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" u

) I I

•

" It

u J " " '! ~ ft ... ... v v ...

]J J ~ - J J • . . - r f::=: - -- -r r v v v = = v v . - - ~ ~ . ;;: ~

~ ~ v u

" v v

3 I n I ,--..

~·~J~ ~ ~ ~

-" -" -" ~ J.. v v v

" v u u v v

n. '! v v v

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fl

t..

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.Q ...... g

'

I r'.

.( v

v -

A tempo F7 ,..-...

v

---- I 3

, , , ;. v v v v

- - v v .( ;.

v v ..

75 Cmll

L I I J I

.. rit.

v - v v .. .. ,( i- .. .. .. .( .. ;:: - - ;: .. .. .. .. .. ... ...

.A v

1\ ~ I J J J L r--. I r'. I r'.

t)

"'" I

n ... IJ

I\

t)

"'" I

n .... g

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fl

t)

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n -.... g

'

~ .. , .A , , , , ft

.( ;. v v v v v ,( i- v v v v v .( .. - - - -~~ ... .. ... ... ... ~~ (~ -

Q.-J ~ ~-=========~-J~----~(:'?) 11-~J~===-Q------------ ~ - - -

hann. ---------- -- - --- -- - - -- - --- - - - - --- ----- -------------------------- - - - ------~ n I

- - - v - v - v .• ~ v --- v v v v v ---·-

..

c~---------~1 --~Jf)~r-~J==~_/~---------~ ~ -------------J ~)~ Q ~

:

simile

-.:. .:. .;.

Freely F5

~ -

!~

:::: :::: ....

v -

- - - - -- - - - -

2nd time, rit.

n I

v v v v v ·!:( -~ v ,:: v v

~=:::::_./:.._ __

1J1J) J (+ ) . .Q. - - - - - -

I I )\ I

~ ~ _) -~ ~~ , .. ;.r ....... ,,, .. , \ .. , , .. , , .. , , .. ,

--

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-

I

- v - v - -

* ------- - - - -- ---- - ~

A A A A A A v v v v v v


. .

, A A A ft , v v v v v v . .

~ ."il

ft

~ ~ ~ ~

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76

THE JAWBONE

- 3-

Moderately, in 2 (J:l = J J>) .J = 110

1'1

u

.,.. ! ll -... ..,

A m

fl ) . . u r .,.. I .

l1 . .... .., v

, fl ) .. u - I r .,.. :::

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"

The Jawbone - 7 - 1 0664B

Am _ _JJJ ) r-1~ ~-- I r-,., I ~

I -r r - r e-r - r -r r

mj' wlthumbpick and fingers ,..-.... : ~ : ~ ~ v v

;. -.:. ~ ... ~

~ " . . ... ... " v v v

v v

.. .J .. ....-.... .. ~J n .+f£: I --. -- . I I I - I - I - r - r r r .....-.._, ::: :: ::: ~ ·- ~ v

~ ': ~ ~ ·- ::: ::: :: :: ,;. ~ ~- )' :: ., ., ...... ...

v v

v v

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v

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r v

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v

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v

Gm7

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- ........ ---J. t- -

i .r-;. V "- V

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A9sus

I 321

I

r y

v

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·-·-

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harm. -- -~ hold ---- ~ *harm. ---------- -- ---

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'' ... ·- . ... . ... *Refers to downstemmed notes only.

98 A7/D Am7/D ~~9fr. ll8fr.

21 21

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( ..------... ) ' J: ) / Gl- ,

1'\ ..------... ..------... \ . - . - - 1111' ...... [] . .

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*All 7th fret notes are natural harmonics.

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I J U _,

l1 .... g -....

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g "' "'

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p - * ,. '-"-

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*While plucking harmonic w/thumb, brush upwards wiring finger to sound remainder of chord. ** Barre w/mjddle finger.

G/D

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--~

~

·-,.,. v

A.H. 6

Am7

A.n

0 0

2 I

1\

I AH

-&

rit.

. ....... , ..... ~,

Freely Dm .7fr.

I 33) AH

~ ; ~~ J: -& -&

lA

:~ 1ft

~~ IV

~

'"~'

v

A.H. AH .. 6

AH 0 0 AH 0 0

J l J

r· I

"''"'' """'~'

A. H. A.H.

101 D.S. ~ (a tempo) al Coda III

AH . --- ----- ,

I J J

~) ~··J -

.. ~ ... , ....... , ........ ,

A.H. a tempo

A.H. 6 A.H. 6

~ 111 1 .. .. 1 ~ JJ .. J1~ J1 - ,-::;,

-& -&

accel. IV

·~ ov IV

'"'"""" 1\1 "'·

Dm6

~~9rr. I))) A.H.

AH 6 0 • AH 0 0

·-,_, __ , rv

IV""4"l

A. H. 6

,,, .. '""·

AH

·- ·-1..., ...... ,

IV\Ioo'W

A.H. 6

·-

... .J ~ J .J ... .. 1 ~~ J 1 _. I .J _. .. 1 ~ ... J1 ~~ .. !1 _. .. J ~~ .. J ... .. .J /~ 11 " ~ - .. - ;::; .. - ~~ ..

t..

... I

.n .... g

'

~

t..

... I

.n .... g

'

...__..-&

...__..-&

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

Dm(l>6) • 8fr. m' A.H.

AH 6 0 0

IV

"'

""""'

A. H.

IV

IV\ .. ...,

A. H. 6

.... IV IV

IV ·-___ ,

A.H. AH 3 0 0

... j.J ~~ J1 _. J1 ~~ J~ _. rn,~ )

~r· r ~ ·

rit. .... .... .... l A . .. ov ov IV ... ... '" •v _,•v I V

'"' ...... ,.,..,...., ·---... •V/ .. , ... , "'"""' -

, ... IV

I V ·---....

Free time DmS 17fr .

1344

I:\ •

-e -e

IV ___ .,

~~ ~ : ~ * -

-& -& -& -&

~ ~ I.A ?... !~ I~

!~ !~

:...- :._v

;;: v

.... ov

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

~

~ r.. 1 .. ... :._v

.... ·- ·- . ... "' IV IV "' IV _,•v ·- '"

~~.., ·--, """'' .... - .,

**AH 0 .----.

~ ~~ ~~~ m - \j 0

_-a -&

Bkwds. rake w/middle finger , ... .... ' .... ,;::... ,,. -,,. ' )'' .. ), 1 .. 1 .. 1 ' "' ·· -~ :."-, ..!.!'. o_v ... _, ., ... , ' .. ,

;;: v

*Lightly and quickly brush strings w/index finger. Misty Nights in Tokyo - 8- 8 0664B

**Pluck harmonic w/thumb and brush upwards wiring finger as t>efore.

102

THE ROAD BACK HOME

M d t I J 136 o era e y =

"' l'l lol tt . . t) mpr

wlthumbpick & fingers hold throughout

T' - -~

w . J1 . -....-IJ

B7sus B7

1\ ~ +t ~ I ~

t) r lJ r ..

I v - ::: ::: - v

a - ft ::-.... ft ...

ft

c ... ... ....

Fill l E(2) F~m/E

'l ~ +t I ,.-..,

~

_T I

a -....-IJ

"l ~ +t

~

T' ! a .... IJ

The Road Back Home - 5 - 1 0664B

..L

r w

B/A

I

-r w

#

~ _J

.A - --

A

r--1 I

--r ft

~ -

..

I

E / -... n. .t~k~ J\ 11

- - - ~ - - -

r J'-/r ~ ~ - , , v - -

w

- -Subst. w/Fill l , 2nd time E(2) F~m/E

I # .. ~ n

~ ~ ~ I "--oj

- -- -ft ... ..

ft -

E

~ /n --J t

~ --

B/ A A

I 11 -r

-:;; ...

-

E

n. - -- -


r1 ~ .. - -- -

*Tr· ~ - -

- -*T=Thumb.

1/.\.J j \11

- ~ -

r u~r ,.---.._ ,.....-.....__ - v - -

w

"' "' - -

/ .........__,

.J / J ,.J J 'rl

- ~ -

-- _r---r ~ / ."7

-

I I

~

:- :-;. - -

.,. - -

B 13sus BIT ------ - -- - - -,

J lr,..n !lr

,-.... ft ... .. ,;, ...

'! --


- - -v

Gliro

.. )l .. .. ) ~ ~----

.,. ... 1- ~

~ -...

B /A A

....----.,

l'l ~ ft I rl I I I

t)

i ~ -r

... v :- ~ I ::: .... v

.0. -..... c v

" ' -

A(2)

'\ ~ ft ... .. !-h .. ~ j .

t.

L I I y

... v

I - ~

4. v '7

v '7 v '7. --c v

E/A

fl ~ H. I I I I I I I

t. -e

mf ...

I

4. '7. " .... " c "

B/A A

fl ~ ft I r-i t) -

i ... -

I

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&.

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

,..---..

I I I

- ~ -Tr ':.

· ~

-

103 B l3sus B7 G~m G~m7

BIT ---------------------------, BIV --------------- -- -------------~

J lr~"'IJ

~

~

"' - . -':!. -

C~7

L l

r 1 -

L'

"

F~ll/A

I I

-r v

" "=

B7sus

J lr"jl J . ~·

,......_

- - ; -:::: &.

"' ...

)hj 1 ) jJ .. .. .. . I

~ ~ ~~ ~ L-J

~ .. '7 '7

~

':!. v - - - v

A(2) Am

I h / _. . .. [)..-.__. ~ j l'b . .

CJ I c._ I I I

- v -- v

"" L' .. v v v "

..,

" v

F~m7~5)/C E

I I I

q~,-r

"' ... v

l I J , D . .t J,.J J r-1

2r - - ~ - -u~r

" " .r- ~ &. &. .., , .., ... v

" v v

- -

To Coda . -------------- - -1.

AIC~ B7 E(2) G~m!D# F#m!C#

h tL I I ,......., . ..

~ I

~ = 411 ~ .. '"! r· r

" mp

" p

:: .A " v

... ... -" - - --

104

B7(:a) n E(2) Gllm/E F#m!E B7(:a) ,..-._

,., u I+ _..... I ,......., _..... I r 1 l J . . t:J - r· ~ = 111 .. ~ - r· - -

~r r· r r A.H. - --- - - -- - j

·---;p ft

"""I>\TI<7 u " -.- v v , • .,. u --v - v . 1\ ... .. " . ;...: v

D ... ~ ... '

Am(2) Am9(maj7) Am9

II u I+ I r 1 J ] ~ u 1. _.!) 1. _.!) tA - ~I+ J. ~ 111 f~ ~111 J D~3-----,

t:J u l~ V ~

L I I

~ 'I ~ [__J_l (_

- - ---;p v --.s-ft - :.. v )::; 1~ 1~

T ~ ~ ·~ L T ;. TY 1\ ., ., ,.,.

~ ---,..- -,--v ;...: "'

., ,v -nr v

""D" - -, v v

"' -v v

Gmaj7 Em7 Am(2) Am9(maj7) Am9

II u ~J ........._ r'i t\ t\ ~ n 1. _.!) 1. .. f)__ I 1 ~ 1 T l ... -------

t: 1 ·u- ~ I -~ r . L

I ~ -

L T r - .c--_ - - - ---..- T ft - 7 ~ v --w;;; • • ft

, - ;. T ( .. ., v - J -v -.;ov ,. v -v - OT

1\ ~ ... ..... v .. - 01 ... ;...: ., ... v

""D" ft

"' .. -.,- v

Dl3sus D7 Dmaj9 > >

~ ib;~ e ~e~ ~ ~' ~ ~ '*-• ~ '*- ~ t::

1 • J

** A. H. A. H. A. H. A. H. A. H. A.H. A. H. A.H. r

I I

IV ov IV ov

I •v ·'··-' o l ftft

, __ _,_ ~"'"" ft 'ft ""'"'' . ' """"' -,.-

'ftlftft ~" .. , .... , "'"'" v v

-o- v rv 'V\"'"'' 'V\"'"' '

*In addition to notes indicated, 3rd finger also silently frets D (@lOfr)

**Pluck standard notes wiring finger and harmonics w/thumb.

and index finger silently frets B(@9fr).


Fret numbers in parentheses are imaginary and are located past fretboard.

.

Bm Bm(maj7) Bm7

1. ) 1. ~)1 1'! .1.1 - - -

~ L .r .. f

OA

"'" IV - :.:"

I .;, - :. A " .;, -.... .. ... g ..

AlB

,.., .1.1 I I 11 ) I ~ ) - . - . . tJ --~ r P r

I -

r r -

~ mp A A A ... A ~ ~ ;;

I . ... ~ ~ ~ A ... ... ... .. -.... .. .. g

A .. ..

.... ~

E

JW. -1\ .1.1-

- - .1.1 ~ - -

~ - - - -·-tJ t-

E13sus E7 A6

#l ~ ~ ~

) #~ )

LJ I - -

~---~ 1>.

.~ ._.., ::: - , .., - ::

::; ... " ..,

A(9)/B

tA .....----.. .. . n ) . . . ~ Tr

~

~;. .,. S:! :! t!:; .. .., .. .

A

- - - ::::::: - - - - -- - - - - -

- - -- -

.. I

~ ~

deer esc.

"' ~ ::: ;:: -

B 13sus

1®.

r· T

"' ;; ::;

- -

Amaj9

n -

~~~ ~

A

~ '!

~ ...

~

105 C9

~

~ q~'-'

~ ~

...

..,

B7

1 ir~. J J I'""'.

T ~-r

:: .., :: ~

BVII-- -

- ~ ~

---r harm. -- i l.J'-'F i -r· ~'-' ....---._ ... OA ·-

I .... A -.... D

"'

B7sus B7 E(2) --------------- -- ---- ----- ,

.,. 1\ .1.1 +t .Jr~ ~ ~ .

tJ ........,. ~·

~ -... .. I

A :: .. -.... g

......

The Road Back Home- 5 - 4 0664B

,...--..,

~ .. .. n n--1 ~ -

L - ~

OA .... ...

..,

~

,.-... ,.---..._ ,.., .., - ;, ' :-:; :-:; :-:; .!.

·-:.:: ;, ... -..,

E

1 - >

.. ~ /n .J ~ /J, .J J ~

t- t-- -

mf u~r - ......--..... - .., .. .., A A ., ..,

-

106

B/A A B7sus C~m7 BII - - --- ----- -, ,.---...._

lr~"'IJ .h • f, u H I r-i I I I J

~ - - ~ ~ r -r ,........_ - -... ... { ~ ... ' ,;.

I ... · ~ ., "!

l1 ... ... .... g v ...

.... -

~ Coda E(2) G~m!D#

II ~ H I ,........,

~ = 11 ... .. -r· r

... I v v

l1 -.... v

g - - v

' v

B7(~) E

I ~ H . _...., I I v--n . . ~ - r-._.;r· i -- -

~r u

... ~ ~ v

I " - ' · .,

" ...

~ g ...

"

BID# C#m7 AIC# B7sus

"' II ~ ~ I I I

~ 4p 2r

....... " I l1 .... g


I I I I

~ r rit. -..:.;

- -... v v

- ... ...

-

•

I

~

; .,

,.......,

--r

J::1

v ..

Freely E(2)

I:\

i ~)

-...

v

p

.... v

I

B7(~)

I

r·

--

l

v

-.J

B7 D.S. ~al Coda

G~ G~7 BIV--------------- -------------------,

.h • )-_j 1 ) .

~ I

~~ ~ w

,;. ::. -...

~ .,. v ., -

n---J E(2) G#m!E F#m!E

- - ,.......,

~ = 11 .. .. r· r A.H. --- ---- ·i

."' ·--.,, ,_ v v

... v

- ;;

I I l --".1 I I I I I

--u

-.,. -~ ~ ~ " .. ::! ": - ...

3 3 I:\ I:\

l 1 .J ~.I :a: 3 u

_..,. v

v v

::!' ' •!

v '"

107

SELF PORTRAIT ON ACOUSTIC GUITAR Moderately fast J = 148

"' II l-' +I - • . . .. r L-.-.= I,.....J

mf w/thumbpick & fingers hold throughout • .... f " ...

I ~ .ll ( .... u

"' A E/0# F#mll

I 2

I 3 4

I 3 4

,;1\l-'+1 I I I I I I I I

t) - - - -

r· ~'-/r -r

ft .... v ft " ft

I ... ... " " .ll -" ft

g v ft -

B A

I 1333 I

1114 - - - - -- -- - - ----- ~

fl l-' +I I ! n ~

~

t) r 1

-r ft ..... . ...

I

.ll -.... g - "

' D

1m 132

fl l-' +I ~. h..Ff' -.. J ~u

..:>.. _,---.....,_ ... u ... n " ... v

I " .ll -.... " g

' Self Portrait on Acoustic Guitar - 5 - 1 06648

. I

n v -

. ..

::: -

r1

v

Fllm7

I J

,..... .. ,......_-<S

131114

. . = r· ~

r r I I --= :: . ...

n . ... -- ... -...

E

fl 231

B7

11 13141

r I

• n -

-F#m7

I


J ~ 111

J -v t-

... " ";: ...

" ~

*2/3Blll --1311 14

j J-J r--~ to.. ... ,......_ . ~"" . u r -

" -·v ft ...

... ...

-..,..

G#m7

I I I ll

BIV----------------,

J r m ~ -. - T - t'

~ ~ ~ .!'"":>.. - ,;.

-v <>'0 v

A(9)/C#

I 3 11

* 113BII -- - - - - - - - - - ,

I [ J +t.J J

r r I I

" ... v

-"' --.,-. *Barre middle 2 strings w/index finger.


. . = r . - t--

~ ~ ':!. ~

···~

- ~ .. ....

n ... ... ...

*Barre 2nd, 3rd, & 4th strings wiring finger.

C#m ll4fr. 13421

Ll

r 1

"

Fllm7(~5)/C

I 23 141

! n1 t-

... v

5/6BII - - - -- -- - - -- - - - - --- -- - - -, ...--..._

J. ~ I r1_

qCJ I w v .

r-"'>. - " n

.., ~ ... ~ ....

ft

"

108

C~m7 A '1'4fr. 134

il5fr. 32 I

I'! ~ H I f J j #Jr:'J-----1.

~ ~r 1 r ~

L .r::.. ... - u -I - u I

4 u -... v n c u

""

D6 A/C~ E

II • • I 311 231

I'! ~ H II I ) ) .. ~ ,.-: . .

~ qr· r~r r r,r ur -......._.,

n n ... ) v ' --. - u v 1 4 - ' ... ( -..... u

n -~ ' ·" ........ ' ,. u

~ E B/A • 231

'14fr. 1114

, fl ~ H r I J 4J ~~1,..--'--'

I

v

~

~ ~~ ~ .J tL

I I

-"> v v

v v

1. B9sus .6fr.

3 42

I

(

.,. .

I J I I_

I ~

-' v ft v

v

D6 A/C#

II • ~. 3 42

_rj .J.,fJ I_ I rl 311

_.._ I I ) . . r r· r~r r r'r

......._.,

,.. ft .t':), -r:-:>. . u · v ~

-" v

n . v - ... v

' ,..-.._ -E A .Sfr .• 3 2 I ll

~) ' ~ ~ lb f J J ~~,..-..._ .. f.,

r r I ~ F ) LJ ~~ r~u I - p -r r - r>. ... n u ...

I u

4 ... ' u -

B/A E A '14fT. 1114

.5fr .• 3 2 Ill

fl ~ H ~J----~) ' ~ ~ .._..

t) r u u ru 'T . I ..

Ll ..... ~ u

u

Self Portrait on Acoustic Guitar- 5 - 2 06648

D~EJ

~ n ... _,

- - -u _ , ... -u

u

.. I

" ...

.r::.. ' " ... -- v -A " -"' " -u -- - ' -"-

v

u v

B!C# C~m7 C#m!E lrr. 1'4fr. lltr 11 1114 312 423

BIV- - - - - - - - ----- - ---- ,

~ f J jJrJ>-,_d ), ~ t ' ~ r J -J ..!-. .........

- p I f ~ u r- v -- -

r ' ~ * ,.........

- v u

:; u

- ; ' u .:;

ft v v

*Hit strings w/R.H.

,., ~ ~

tJ

... I

n .... .., '

C~m7 1'4fr. 111114 312

arv -------- --------- --------, ~J-- --) ' ~

-r ~ ur- l/

' ~

.. " v

B/A 14fr. 11 14

~ ' ~

--

~

::: ~

v

E A

'ISfr .• 3 2

1114

109 B/A E A

IDr'· 1114

'ISfr .• 3 2

1114

r J j J--J-- --) ' ~ ...__.

- ~ L..J =LJ D'-' r r v

" _ ...

~ v _A v

ft v

E7/D '17fr. 141

l/2BVII -------- ---- -,

,., ~ .. ~ ... t\ JR1~J-~;, ~ ~ ... tt l J .J J /1. )l)j ~ ~

-t) ~u I - ~ r v urv D~EJ I r . * ~p r -r

~ -"'- -"- -=>. ft ... ... .., .., - v v

I v v ·- v '" " 4 ' -ft "' ..... ...

ft "' ...

~ v v

"' v

v v

A(9)/C~

II 31 1

F~7~5)/C

I 23141

C~7 '1'4fr. 134

**l/3Bll ____ ___ -, 5/6Bll-- - _____ _________ ,

~ I I\ ~ .. I JjJ J. ~

-t) 4r r 1 J I qCJ I

... I - v

n ... ..... ... ~ v

**Barre w/index finger as before.

B9sus To Coda-$- D6 tl6fr. 3 42

If I

I\ ~ .. I d 11r~ I rl

tJ r ... - ~:A

I - v . .,

-B - u

..... ~

Self Portrait on Acoustic Guitar- 5 - 3 0664B

~r·

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

"

"' ...

I

"' v

J:":'L. I

LJ V ' Hi l r>.

~

" "' ... v

AIC# E

I 311 • 231

I ~ ~ ..

~-r r r,r ur '----'

"' ... -- r:>.. -

v

*Slide barre w/index finger, sounding 1st string only. A lll5fr. 32(1)

4

I J j~J-:J~1. .. D-.. ~ J t\ ~

J y I ~

c.. I I I

'?. -u . " u

"' ... ft

~ v . v v v v

-

F#m7

I 131114 r--

~~ n~ ~ j . .. ~-6 . . =r . r r 1 J -~

~ . A . - ~ " s v - ... " v _t ... - ... ..

- ... -...

110

B BID§ AIC~ B A6 B7 E(2) Fb7 li9fr.

13 4

.12fr .• 10fr .• 9fr .• 7fr. 3 24 3 24 13 4 1314

lrfr. T 241

17fr.

431 ** l/3BIX--,

1r·· 13121

BIX- --- - - ----- - -- ,

fl ~ H !rn~! ~ · ]LD .. ~ .~ .~. r-Jl J: ~n} _.

t.. r r

'T' :::;: !

.... A ,_ .. -,;. .... / ,..,

" ..., -

B A B7/A

17fr. '19fr. '17fr.

3 4 241 1 34 4

., fJ ~ H ~ ~ ~ ~ ~ ) ~

u fir -- I ~

~~r·

'T' ..,

I ,..,

"' " "' ,.. 11,;1. v

A(9)/C~

II 311

. ~

c.. I r - -

~---r 'T

- .-.. "' " .. "

" *T = Thumb.

G#m7 l rr .. 13111 4 BIV ------ -- ------ ,

.. . t\ r1--.b J< . -.. . -..

u ~ v ~

~~ ~

:: ~

"

Fb7(1>5)/C

I 23141

B/C~

m7fr.

T 2 I

J

~

T

:. v

..,

tt ~ H . I I J HJ J J. .M i u r r I J I

"r v -

I v

"' " ...

1;1

"'"

A 'I±H1tl5fr.

~) 4

"' 1'\ ~ M ~J. ~ J ~ .. .. h.

u c.. I I

"r ..,

I v

"' -.... "' '

1;1 ... ....

Self Portrait on Acoustic Guitar- 5 - 4 06648

I

"

v -

tJ I w r---... .., - -

v

.. ..,

B9s us D6 ~~6fr.

3 42 I

I

I d ..!1rl I rl

r ~r ·

..::-.A .c-.. v

v -

"' ... - "' "

~J___..J _.J I ~~

:: . -.... . -.... .-.... --- ·-;:: :::;: ',.."

,..,

;:: ,.., "' "' ,.. ~ , ..,

**Barre 2nd, 3rd & 4th strings w/index finger.

C~m D 19fr. T 34 • 132

ll~JJ l k:l. h!J' _LL, - .

~CJ I

I'). ,---.....,

- v - v v

;:: ,.., v

... "' "

r1 I r J .J~;r~----

v I

~r 1 J r I t-

'?. v

"' .. ..; I' " ... "

v

AIC~

II 3 11

E • 231

D.S. ~ al Coda

I } I J .J.ft~~ ~

~~Ufl rr I

...._.., -'?. " ... " "' " " ,. ... -- r'._"'). -

~-

111

0 6

I 1

A/C~

• 3 11

Hml1(~ 5)/C

ii 231

E(2)

• 241 Coda J .!;r'l I .J ~ J I "' ~ 11 - 1 - 1 '"' .,....... -

t. ~r 1 1 r l 1 1 r r r 1 1 qr_ ll J I rr r [ mp

.. .. T ,,.. • C>. " ,.. ,.. ,.. "

I " " ... ... " . A " ... " " .., .Q - - - - - -.... v " v - -1.1 v v v -

v

06

I I

A/C~

I 311

F#mll(~ 5)/C

ii 23 1

E(2)

• 241 mf

"l .~ It -1 JJ ;r'J -1 J .!f J I -- -t. . ~r I I r l I I r r r 1 1 q~ w I rr r [

cresc .

.. T .,.. """':>, " ·- v

I v v ... " v v v

.Q - - - - -.... v v - -1.1 v v ...

' v

0~ 1'7fr. I

F#ffill(~ 5)/C

ii 231

E(2)

• 241

*~---- - - -- -- ---- ---- -- --- -- ,

~ I .....-----..._

:J~J j .!Jsl l ,; fJ ~ it. ~

t.J ~r l r r i l J l l ~r r _l 1 J l J I J r[ . harm.

T :~

~ .. .. .Q ,.. ,.. ... ..... " " v

1.1 v

fJ ~ it. I b====J ~

t.J ~r l r harm.

,. ,.. :!. ! " ·-

.Q .... v v

1.1

Self Portrait on Acoustic Guitar - 5-5 06648

r r 1 rit.

v

harm. mp

.. v .. .. v

"' . v

v

*Refers to harmonics only.

F~m11 (~ 5)/C

ii 231 8va------------------- -,

J:::==:::J ~ J I

~ qr I l J I harm. harm.

.. ~

.;, ~ v

v -v

" -

harm.

-:. ...

Freely E(2)

• 241

.. ....

,.. -"

... I .

.. .,.. C>. " " "

* 8va- -------- -' I:\ .

jl ~ -

--u~u

'..:I A.H. - - - - -- - ·i

v " ' " ' v . , v , v

... ... ...

" *Refers to harmonics only.

112

Tuning:

® =C ® = G ® = G @ = B @ = D CD = E

Slowly J = 66 Csus2

fl ~ nJ ' "

./

THE VISITATION

Gsus2

n /l n j ~~_r:;--r J J 1~ t.J ~~~~ --- -

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v

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v

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Timing: WABASH CANNONBALL

I') lol

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11 .... &;I

®= D @ = G ®=G @ = A ®= D <D = D

Freely, in 2 J = 88 G

fl lol

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11 .... :: ;. v

u .,

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. " . - ._/

ft ., v

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harm. -- --- - - -- -- - -- -- - --- - - - - - - -- - ·~

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I I I

- ._/ '-' . -" " v v v

v v v

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.... v ~ _/ I - - --

11 .... &;I

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,.,, v

" " " v v v .... ., v

v v .( ;. .( - - - -- -.,

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All Rights Reserved Used by Permission

" " " " " " ~ v ~ v ~ v

v .('. v v v -

125

Moderately bright J = 120 G sus2 G sus2/F Gsus4/E

fl lol .. I ~ ~ ~ ~ ~ ~ ~ ii I

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} ,.

'T' v v v v t "! "

v

" v

" " I ) "! v v v v v

4 ~ " ~ { v v v v v v

..... . v . v v - - -g

Gsus2!Eb G7sus2 G6sus Gsus2(1.6)

~ lol ~ h ~ I .. I ~ ~ ~ I l ~ ~ . . . ~ . ~

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! v " v v

.n v .:' ~ v v ~ " v " " -.... - ':!. .., .., .., v

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v v v v v

G n ,....--...

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r - r r -

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r I

'T' ,, ,, .- v ,, - );: I '" v "' :: { .;.

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v v v

v v

G c sv-------------------- ----- ---------- , _/\ lol I I j / j - - l . I . t. r· r - r - r r r r r r I r -

r ~ " " -~ . .c-

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~

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., v v

D G 5MBVD --- -- - --- ------ ---------- --- - - - -- - - ------------------,

J ) j)_J fl lol I h--.h . t.. - I r --r

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v

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IV

v - .. - - .. - -v

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r / ... v v ~

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1\ lol -:J .--...

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r ;.

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1'1 ~ j )j ~; - · ~~ 1 J 1 J j.:=:_ - - q= ~- = - - -

t.. r - r r r r r r - r r r - r - r -- - -r r r r .. n ~ ,"n ' " ·- ·- , -::; ~. · ~

I ·~ · ~ · ~ ' ' "' .... ·- ·~

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D a v --------------. st6B vn ------------------------------------

q_ -- - ~ J. ~r-~ J I ~r-_h J ~ ) j ]LJ f t Jt - - ---- - ) ) . . . t.. r r I ~ r ~ r I - I I r I - I r I r - r - -- -r r r

~

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fn n ~ J __;-----~

h--J. r-1--1 L J l ..--...

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t.. - I r I r r - r r r - r r r - r -- - - - r -r r r r I

..--... r-----, ~ .r-- .. ~ ~. v - v - v .--- -! J .. J ..... - - ---ll . .. .. " " n n

u

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I;J

Wabash Cannonball - 10- 4 0664B

' ' - " - v

J

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v

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n v .... g

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u ..;../ ~ I

grad. accel. ,.

ft

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ft / '! g v

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t. _) ~ I

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.G. ,.....-~ -~ -.... / '! v

g v

Wabash Cannonball- 10- 5 0664B

I

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~

---r v

t\

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ft

v

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f

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G

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I I I r ------- ------, -------~ ~ I . . . - Cd I I ~ -~ I r ......__... ......__... ......__...

; I r.-------, 1.--\ r-- ---------~ ~ .../ :::: ..../ :::: :::: ......- :::: .;.,

ft ~ -v -vu •"' A v v ~ ~ v v

v "' v

D7

~ t\ t\ :1. 11 I 11 :1. n I n - -. . . r f r bf r P_./1 VJI I

v '! '! v :::: :::: :::: v ( :::: ::: :::: ~ ..... v

ft

v v ~ '.. ~ ..... "' "' ..

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oJ

Gsus2/F Gsus21Eb

t\ t\ t\ t\ t\ t\ t\ I ~ ~ I l l I t\ t\ I .

I I I 'I I I I r I r I -r I - f-._../ --r ft ft

v v v v v v ft ft ft

ft v ft V A v v ~ v v --v v v v v v

/ v v v "' "'

,,. A v

G7sus2 Gsus2(1.6)

t\ t\ t\ t\ I l ~ ~ . - .

- 'I - l -r

- 1 - -r - f---r - r - r -- - -r r r " v v v - ft

v v v v - v L"""""' v v v -v -v v ' ~-

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v v v

G7sus2 G6sus Gsus2(1.6)

l l ~ t\ [ I I I t\ I . ~ t\ ~ - .

r 11 - I r r - r r 'f - f - - -r r r ft

ft v

ft v v -v

A v v v -v v

v v v v -v v -.. v -v

v -v v

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129

Gm G7sus2 G6sus Gsus2(1.6)

I ~ ~ I ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ I

- . I I -,, I -

r -

r - r - r r - r - r - r -- - - -r r r r ,. " " "

A ... ... " v v " " " ~- " ... ... " "

"

Very fast J = 176 Gm

" " " "

"

... ... ft ft

" " ft

" "

G

I J I ,------------------------------ ---------- -- -----. I I I r--- ---- ----- ---- ----- ---

• , LJ [ I 1 J - w r w ~-,., t: r - ~ - 1.....1

r -r. r. r --r t i t i t i t i t t i r r Jn '[------- -- ---------- -- -------------------------, ) I

" r------------------------

~ __.... ~ __.... ':: ---"' ~ / " " " "

" " " " " " " " " " " " " " ft

" " " " "

Gm ____________ ;------- ------ ---- ----- ----- ---~

d J:~:: J I rJ----•

r r r r ---- -- ~-- -----~

r w r w .r r r r 1 r r r 1 r r r harm. -----------------------------------i '" '" '7---------------------- -.- ---------...

" tlo. ~~ ~~ " " "' .... .... " ' " ·

" " " " " " " "

" " " " " " ... " *Harmonic strings 1 & 2 only.

Gsus2

d G

~-----------~

I .

I _r-1-.... I L. ll lo. lo. .

1/ -.._] . - r - r - r - r - r - r - r - r - r - r r - r - r - r - r -

r r r r r harm. - - - - - - - - - - - - - - - - - - - - -i I , -- ------ -- ---....._

" " ~ ~ ~ ~ " ... " " ·- ·- ft

" " " " ft _,. ... ... ... ... ... " " " " A ft ,. ... " " " "

" " v " ...

Jr' l h ) f\1 L. _h ) 1'\1 h )l\1 L. j\ "' h )l---\1 L. j) "' b _~,l )l

- r - r - r - r - r - r - r - r r - r - r - r -- - - -

L L r L .....--... ~.....--... ,;; ~~ ~ .. .....--... " - ... ... " " " " " ~ ~ ft . "7 ... ... ' "

" ,. _,. ,. ... " " " " " -" ... " - - ,. - - ... ...

Wabash Cannonball - 10- 6 0664B

130

fl ~ , , ~h "' .h , , ~ h "' .h , , ~!l "' .h , , ~ ]l "' t) - r - r - r - r - r - r - r - r r - r - r - r -- - - -r r r r ......--... ......--... ......--... ~ . ~ ......--... .... ~ ......--... ... v v v v v v v v v v v v

I v v ,.., v ,.., v ·-.4 "" "" "" ..... v v

" v v

"" v v

"" v v

c v v

"" v

"" v

v v v v

; fl ~ - II .h \ I .h \ 1 ~.]\ "' ]\ "' ~ .h'l ~ .h'l ~ ~. Il'l ~.

t) - r r r - r r r - r r r - r r r - - - -- - - -r r r r ......--... ......--... ......--... ......--... ......--... ......--... ......--... ......--... ... v v v v v v v v "' v "' v v v

I ,.., ,.., v v

Ll "" "" "" "" "" "" " "' ""'

v v v v v v v v v v v v

c v v v v

.- 11 ~ ~ ]Y'I 1\ ~-- 1 ~ ~ ll'l 1\ ~-- 1 L J-----r;-::\ I I I

'-- - r r r - r r r - r - r -- - r - u - - -r r r I

...--.... ...--.... ...--.... ...--.... r---~--~ "' " ""

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.. v .. v v __../ v ft l A .\

) '! l'! l ~ I .. .. .. v v , .., ,

t~ : '! t v v t"' t- t "'

v v v v v v v

v

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G c

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J ~---~ j I\ ~ I I / - I 1\

BV --- --- - - - - - ----- - --- - -- ·

. tJ - r - r - r - r - r - r r I - I r - r - r - r - - -r r r

,....--__ ,....--__ ~ ... v "' v ·- v v ~ , "'

I v ,.., .,. "' .Ll A "' v

..... " v v

A v v v v "' v

c v v v v .,. v v v "'

D G - - - - - - - - - - - - - - - - - -, 5/6B VII - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -,

J j J 1\ u I 1\ I

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I

Ll ... v

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I ~~]1 . . I - I r --r

v

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v v ... ... ... . ... ...

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r ~

v .. " v

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v

v

131 c

fl ~ I. }f'l rl -..,. rJ~.J\J. J - )C.! )~J. BV --- --------- - --- ·

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i - - r - r r r r r . .r;.. .... ...-. ...-.

..... ..., . .., ..(" "),. .., .... .-.... ~ ..,

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.., .., .., ...,

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D - - -- -- - -- - -- --- -- -- --- - , 5/6BVll -- - - - ------- --- ------ --- -------- --- ------- -- ------ ------ --- - - ----- --,

h--h J. J J I ~ h J.

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I

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G

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I .., - .., Ll .... .... v v v v

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G

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r - r --r r ,....--.__ ,....--.__ ,....--.__ ...-. .---...

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fl u I I t-.---~ J ~--h J ~ r I --

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.

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...,

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h-:-}1

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J t\--1 I t\-- ~ J. I ~--_h J . . . . ~) - i - i r I I r I I - I r I r - r r - r L --- ~ --;r -.. -v - r \1

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.

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" "' .., . . ...

Gsus2/F Gsus21Eb

~ ~ ~ ~ ~ ~ ~ ~ I 1 _l ~ ~ .

'I I I I r I r I r I - r-.__/ --rit. r

_A A A " A

" v " ..,

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

A ..,

G7sus2 G6sus4 Gsus2~6)

~ I ~ ~ I ~ I ~ ~ ~

I - 'I - I -r

- I - T - r-..__./ r - r - r -- - -r r r "' ...

. A A "' A A

" ... .., " ...

A v v v " ~ .,...._ - - - - - ·-- -" "' " ..,

G7sus2 G6sus Gsus2~6)

l t\ I t\ I l t\

I 'I - I r r r r· r - r - r -- - -r r r m olto rit. ----- - ----------------- - - - - --------- - -- - ~

" " " .., .., .., v v ... v ... ...

:: - ... - ... - -- - - -"' A A ... ... "

G__.!L_j _) ~ ~·B .

I:\ . )r, .. J I I ~ • ~~

- - - -- - -- . - -

~'--& r· r -...:.; harm. -- --- ---- --- -- - --- --- -- i

!-\ I

~ ) --. " " " )

~ ... _,;. ~ " A _./ r~ v

"' '"'' ., - _.. ~ ':! :: ' " .., ,..,, ..,

-"'-- ": ... - -v

v

-

About the Author

Jon Chappell is a multi-style guitarist, composer, and arranger.

He studied guitar under Carlos Barbosa-Lima at Carnegie

Mellon University, and then earned his master's degree in music

composition from DePaul University. He has served as editor-in

chief of Guitar Magazine, and was the founder and first editor-in

chief for Home Recording magazine. Jon is the author of several

books, including Guitar for Dummies, Rock Guitar for Dummies, The

Recording Guitarist: A Guide for Home and Studio, Digital Home

Recording, and Build Your Own PC Recording Studio. He has writ

ten extensively for Keyboard, EQ, Guitar Player, Onstage,

Drum!, Rolling Stone, and the New York Times, and has

recorded with Pat Benatar, Judy Collins, Graham

Nash, and Bruce Springsteen. Jon composes and pro

duces music in his home studio for film and TV, and

has contributed to such shows as National Public

Radio's All Things Considered, Walker, Texas Ranger,

All My Children, Guiding Light, Northern Exposure,

B. Smith with Style, and the feature film Bleeding

Hearts, directed by actor/dancer Gregory

Hines. He lives in the New York City area.

134

GUITAR TAB GLOSSARY )(.)(.

TABLATURE EXPLANATION READING TABLATURE: Tablature illustrates the six strings of the guitar. Notes and chords are indicated by the placement of fret numbers on a given string(s).

Ft-

I 1--W-----L -+-J_;; 3- ++1. _2 e __ -Q--_· 1 6-------lq S1riuo,: @ . 3rd Fn•J Sttiug (!) 12th f'rt't

String Q) 13th Fr('/ A "CChord C Chord A rpeggiatcd

BENDING NOTES

,;,. . ~ tJ

) ...

HALF STEP: Play the note and bend string one half step.*

WHOLE STEP: Play the note and bend string one whole step.

PREBEND AND RELEASE: Bend the string, play it, then release to the original note.

RHYTHM SLASHES

G c STRUM I JJ I ) INDICA-

'

~ ---~ · TIONS:

~==~~~~~~~~~] Strum with ~ ] indicated rhythm.

The chord voicings are found on the first page of the transcription underneath the song title.

*A half step is the smallest interval in Western music; it is equal to one fret. A whole step equals two frets.

··sy Kenn Chipkin and Aaron Stang

® ®® 5fr 3fr lfr

A G F

®®® open 3fr open

E C A

INDICATING SINGLE NOTES USING RHYTHM SLASHES:

~ .J n~JJ J I Very often

single notes are incorporated into a rhythm part. The note name is indicated above the rhythm slash with a fret number and a string indication.

@ 1990 Beam Me Up Music c/o CPP/Belwin, Inc. Miami, Florida 33014

ARTICULATIONS

,..,...,. ...---..

tJ

_'I'_ _! .~ A " "' g

.ttt ---tJ

.ll " " _g_

,..,....,. -tJ

_T ~

A " r\ g

,;,. > >

tJ

_T_ ! ~ A r\ g

,..,...,. n v

tJ I

T ! A ' 1'\ v ..,

-----

"

-i -i

,. p

~ ~ !:: !::

n v

I

' v

HAMMER ON: Play lower note, then "hammer on" to higher note with another finger. Only the first note is attacked.

PULL OFF: Play higher note, then "pull off" to lower note with another finger. Only the first note is attacked.

LEGATO SLIDE: Play note and slide to the following note. (Only first note is attacked).

PALM MUTE: The note or notes are muted by the palm of the pick hand by lightly touching the string(s) near the bridge.

ACCENT: Notes or chords are to be played with added emphasis.

DOWN ' STROKES AND UPSTRO~ES:

Notes or chords are to be played with either a downstroke

n . ) or upstroke ( v ) of the pick.

International Copyright Secured Made in U.S.A. All Rights Reserved

•

fOqy k 9JtYhe.s

Virtuoso Fingersty!e

Guitar Doyle Dykes Is one ollodoy's most spectocutor nngerstyte players, holled

os the favorite son In the direct lineage of Merle Travis, Chef Aikins,

ond Jerry Reed. Doyle's technique Is nrmly roofed In the

onernollng-thumb sound ol his forebears, yel he brings on unparalleled

range ond vlrluoslly lo these lrodlllonol slytes.

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Doyle Dykes - Virtuoso Fingerstyle Guitar.pdf