Beruflich Dokumente
Kultur Dokumente
3
Two Lines From Nowhere
Every slide mark is a half step approach from a note, chord or double stop one fret lower
than the note that is written. Again to simplify the arrangement, I didnt add grace notes in the
transcription. Play these phrases with an improvised feel the same way that Jimmy did.
There are several places where Jimmy sweeps his index finger upward similar to the effect that
pick style guitarist would use. Try not to be accurate with this technique as far as playing what
is written. I am sure that in different improvised situations, this type of fingerstyle technique will
have a slightly different outcome every time.
There are a few notes that I cant be sure if Jimmy played or not. Anything that I wasnt sure
of, I placed the note or notes in parenthesis. For example, in measure 5, I am not sure if Jimmy
played a G in the Ami chord on beat 1. Usually when Jimmy is playing a line, he likes to start
with a wide interval like the 10th interval from A and C on measure 5 beat 1. Then he will move
a line through it, above it or below it. When he is playing a chord, many times he will fill out the
two notes with a third and possibly a fourth voice. This is the reason I filled out the harmony on
that chord.
Another place is bar 11. I dont think Jimmy played the low Bb note in parenthesis, but it is
certainly within the scope of his harmonic approach and it sounds great. When I played it for
Jimmy, he also liked it better than what he played and asked if I would leave it in. I have never
known Jimmy to be interested in a perfect transcription. His interest is rooted in constantly
trying something different, and improving on an idea. So for the purist out there, I think that he
played a low A in that measure instead of the Bb. Everybody else, play the low Bb.
I didnt add many right hand fingerings, but if you have been working through the other
lessons, you should be very familiar with how Jimmy would want you to play this solo. On
single lines use the thumb and index as much as you are comfortable with. If you feel the need
to add the middle or ring fingers on single lines feel free to do so. On the two line sections,
alternate P and M on downbeats with I and A playing on upbeats.
Use your discretion about letting notes ring. From all of the lessons, you should be very
familiar with Jimmys concept of breaking up four note chord voicings into two - two note lines.
An example of this is measure 64. The two notes on beat one ring into the two notes on the
and of one. Together, they spell out the bar harmony nicely. Measures 13 and 14 are another
example of this technique. Again, to simplfy the notation, I am not adding tied notes to show
note durations.
There are still several places in this solo where I am still not completely sure of my note choices
or fingerings. If you find any places where you hear it differently or would make an alternate
fingering suggestion, please let me know. I am always trying to improve on all of these packets,
transcriptions and arrangements. I welcome your input.
Making this transcription was a true labor of love. I hope that this music will continue to inspire
you to play the guitar at a higher level.
David Oakes
July 1, 2008
1
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2
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p m i p m i p i
5
Intro: Rubato
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l========================
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q = 94
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13
Chorus #1
Gmaj7
7( 5)
7(alt.)
17
E7(b9)
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21
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Lay Back...
4
7
25
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Gmaj7
29
b
Bm7( 5)
b
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b
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5
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Gmaj7
BVI
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33
Cm
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# _ n _ _ _ _ _ _ _ b b b n n_
b l
l========================
& __ _
l # _ l
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5
4
Am7
E7(b9)
Am7
BV
37
E
Am
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3
Lay Back. . . .
3
Bm7
41
Chorus #2:
Bbm
Eb
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n_ b_
__ __ _
_ _ _ _
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#
b . bj
n .
b
b b b nj
l========================
&
l l b_
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3
4
Gmaj7
45
Bm b
E b
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# _ _ _ _ _ n . n _ #_ _
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l=======================
&
l
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J b __ 4
3
5
3
3
4
5
3 4
6
5 6
b
Am
Am
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_ _ _ E lay back
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3
2
3
3
4
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Am
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3 4
5
4
3
i i i i
6
Bbm
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b n l
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& l _ 4
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4
3
3 4
5
Gmaj7
7( 5)
7( 9)
49
7( 9)
53
BXI
57
61
lay back
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Am
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Am
Cm
1
1 2
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# # _ b n _ b n
# l l b bn # l
l========================
&
l
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3
i p i p i
4
5 6
6
5
3
Bm7(b5)
Gmaj7
7(b9)
65
7( 9)
69
D
Gmaj E
Am
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Gmaj
A j
# _ #_ . #
l l _
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&
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3 2
3
3
i i p
5
Begin Chorus #3 comp.
Bm7
E7(b9)
Am7
7(alt)
7(b9)
73