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CHARLIE !R": A#A $A#A Here's the sheet music with guitar tabs for ' amba $amba', $amba', a song written by Sherman Feller. This version is played by Charlie Byrd on the album Herman eets !uente "clic# and scroll down to listen to samples$, collaboration between %oody Herman's big band and Tito !uente. Charlie Byrd is #nown for applying classical guitar sound guitar sound and techni&ues to jazz to jazz.. The mi between classical guitar and the traditional sound of %oody Herman's band is &uite interesting.
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CHARLIE %AR&ER: ILLIE'$ ()*CE This is the transcription of the head of head of Charlie %ar+er's c,mp,siti,- 'illie's ,u-ce', ,u-ce' , as heard on the album ' Boss Bird'. The transcription is in guitar tablature as tablature as well as note script. The guitar tab shows tab shows you the way - play the theme.
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%A #EHE*!: ( 0(R HE R(A" This is the transcription of the head of He-ry #a-ci-i's c,mp,siti,- 'w, 1,r the R,ad', R,ad', as played by %at #ethe-y and #ethe-y and as heard on the album 'Beyond the issouri S#y'.
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$C( HE*"ER$(*: "(LE#IE
Here's the sheet music with guitar tabs for the theme of 'olemite', written by $c,tt He-ders,and recorded on the album Tore own House .
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A))#* LEA2E$ I* 3/4 /very *a++ musician #nows and plays 0utumn 1eaves once in a while, whether he li#es it or not. 0utumn 1eaves is one of these standards that have been played to dead. 2ne way to bring some new life into songs li#e Autum- Lea5es is Lea5es is to play them with another time signature. The following sheet music is 0utumn 1eaves arranged for 3)4. 2ne bar of 3)4 contains 5 parts( a 5 beat part and a 6 beat part. Sometimes the 5 beat parts comes first, sometimes the 6 beat parts. -n this arrangement of 0utumn 1eaves the 6 beat parts comes first( 7 8 5 6 8 5 7 8 5 6 8 5 78 5 6 8 5 78 5 6 8 5 7...
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(($ HIELE#A*$: L)E$EE
http())www.*a++guitar.be)fingerstyleblueswal#ingbass.html
0I*6ER$!LE AL&I*6 A$$ %al#ing bass is a techni&ue used by bass players in *a++ music. ost notes of a wal#ing bass line have the duration of 8 &uarter note. The function of a wal#ing bass is to outline the harmony and #eep the time together. %hile wal#ing bass in a combo is usually played by the bass player it also comes in handy for guitarists in a solo or duo situation. The difficulty lies in the combination of 5 things( chord accompaniment and #eeping the bass going. This #ind of wal#ing bass guitar lines have to be played fingerstyle "guitar tablature below$. The first eample is a wal#ing bass line with chords for a -- 9 - 9- progression. - used shell chords because they are easier to fret in combination with the wal#ing bass line. !lay the bass notes with your thumb and the chords with the first and second finger. First learn to play the pattern error free, then try to add some variations and gradually speed up. Try to add some ghost notes as well. Here's the fingerstyle guitar tablature(
This second eample uses the same bass line, but with te-si,-s added te-si,-s added to the chords for a bit more color. /periment with other top notes to get a different voice leading.
-n the last eample - show you this 1i-ger style guitar tech-i7ue applied tech-i7ue applied on a standard 89 bar blues pr,gressi,-. pr,gressi,-. Here's the 1i-gerstyle the 1i-gerstyle blues guitar tablature( tablature(
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0I*6ER$!LE 6)IAR: *AR"I$ The guitar tablature below is a fingerstyle guitar arrangement of the first : bars of ;ardis, written by iles avis and arranged by yours truly. Chec# out some *a++ guitar players and their version of ;ardis( i#e Stern, ic#
and g creates a nice tension in this chord. 2ther eamples are the Fma*?>88 voicing in the @th bar and again the /m= chord at the end of the arrangement. Bar 4( the chord in bar 4 in the original composition is Cma*? Bar 3( the melody here is harmoni+ed in thirds. This techni&ue wor#s well in fingerstyle guitar arrangements because it ma#es the sound fuller on places where there are no bass notes played. Bar @( the second voicing is an F@ Bar ?( the / ma*or chord opens up the sound before going bac# to / minor. The 6 in combination with the b5 creates a #ind of oriental mood.
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$(L( 6)IAR: HE $HA"( (0 !()R $#ILE The guitar tablature below is the first : bars of 'The Shadow of Aour Smile', composed by ohnny andel)!aul Francis %ebster and arranged by yours truly for solo guitar.
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- arranged this standard with very basic chord voicings. Basic wor#s well in fingerstyle guitar. Bar @( 0b? is the tritone substitute of ?. Bar ?( don't play string 4, mute it with the third finger.
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$(**! R(LLI*$: %E* )% H()$E $,--y R,lli-s, R,lli-s, born in 8=6 in ;A, is a te-,r sa,ph,-ist who sa,ph,-ist who played and recorded with iles avis, Thelonious on#, 0rt Bla#ey and a Doach, amongst many, many others. Sonny Dollins' best #nown album Saophone Colossus was recorded in 8=3@ with Tommy Flanagan on piano, oug %at#ins on bass and a Doach on drums. That day he recorded the famous song called 'St Thomas', based on Caribbean Calypso music. Sonny Dollins is still recording and touring today. 2n =)88)58 he had to evacuate his apartment with only his saophone in hand, when he heard the %orld Trade Center collapse. 0 few days later he recorded a concert at Ber#lee college( ' %ithout a Song( The =)88 Concert'. Here's the way - play Sonny Dollins' Pent Up House. - added a second voice in thirds to the #ic#s. Pent Up House is a lot of fun to play "uptempo$. Here's the ch,rd the ch,rd pr,gressi,- used pr,gressi,- used for the improvisations "00B0$( 70m? 7? 7
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Solos are on the form, here's the ch,rd pr,gressi,- again( pr,gressi,- again( 7Bb? 7 7 7 7 7/b? 7 7? 7 7 7C? 7 7 7Bb? "Brea#$7 7Bb? 7 7 7 77 Suggestions of guitar scales you scales you can use to solo over The Chic#en( b=( b=( Bb iolydian, Bb Blues !entatonic, Bb? 0ltered 0 ltered over bar 4 Eb=( Eb=( /b iolydian, Bb Blues !entatonic "=( "=( iolydian, inor !entatonic 6=( 6=( < 0ltered ominant C=( C=( C iolydian, < inor !entatonic