Guitar Tab

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Bar 6-7: So here, I start with an Fm7 run with 16th note triplets. Felt like the natural thing to do coming off
of the Aadd9 at the end of bar 5. This technique is really popular in R&B/gospel/soul playing. Its function
for me here is kind of like an extension of a Bbm9 chord. I think it helps to think of it in those terms.

Bar 6

Bar 7

Bar 8: Introduction of 16th note swing patterns. I like to mimic DAngelos background vocals in my
playing at times. He uses this pattern oftentimes. Plus I think it sounds really cool over the Bmaj7. In
combination with that pattern, it gives it an almost Bmaj7#11 feel.
Bar 8

Bar 16: Ebm7 run done in similar fashion to the run in bars 6 and 7 with a little rhythmic variation. Again, a
staple of R&B/gospel/soul guitar. However, here, I used in context with a Bmaj7 chord. If you got Minor
9ths or Major 7ths, try it!

Bar 16

Bar 22-24: Just having a little fun over the Bsus chord! Its a cool way to add flavor to it. Employing the
16th swing pattern again like earlier in bar 8. Youll probably see this happen a few more times. Look for
patterns!
Bar 22

Bar 23 & 24

Bar 25: Ah. I may have gotten carried away (lol!). Well the first thing Id say is take this slow. Its probably
good practice for alternate picking and speed exercises with all the 32nd notes. But this is actually also a
pretty popular nuance within this style of playing. You could reference big name players like Jairus Mozee,
Isaiah Sharkey, or Erick Walls. Its actually pretty popular. Just remember timing is key here. Metronome,
metronome, metronome.

Bar 26: Coming off of that passage in bar 25, I felt that itd be cool to resolve it with an A maj pentatonic
run with a few grace notes added. Grace notes actually add a lot to the vibe of the playing and give the guitar
a sort of singing quality, which Im a big fan of, so I employ those a lot as well.
Bar 26

Bars 34-35: Here, I was actually trying to mimic the drummers hi-hat pattern. Its a really interesting style
of playing that lends itself to hip-hop (i.e. J Dilla, Slum Village, other artists in that vein). So I was just
emphasizing that drunk type of feel. Its also good for palm muting practice! Have fun with this one.

Bars 34 & 35

Bars 42 and 43: Just a diminished 7th chord run within a minor chord progression that resolves to a
Bbminor9 lick much similar to the Em9 lick back in bar 25. This is also another key staple in this style, and
the rewards of proper timing and placement of it are satisfying. Once again, see more of that style from
Jairus Mozee and Isaiah Sharkey. They really got it down.

Bar 42
Bar 43

Hope this helps you guys! Much love!!