Fingerstyle Jazz Guitar
Bop to Modern taught by
Duck Baker
EXPLANATION
OF THE
“…Learning from listening is unquestionably the best way, the only way that suits this kind of music. You are setting the notes down for a record of what happened, a record that can be studied, preserved and so on, a necessary and useful companion to the recordings of the actual sounds. I keep thinking of this as I transcribe; if you could do it, it would be good to have a legend across each page reading : ‘Listen to the record if you want to learn the song.’” Hally Wood (taken from the Publisher’s Foreword to the New Lost City Ramblers Songbook.)
Generally for fingerpicking styles you will be playing the thumb, index and middle fingers of your picking hand. To indicate the picking finger in tab the stems go up and line up down from the numbers. A. A stem down means that your thumb strikes the note. B. If a stem is up, your index or middle finger strikes the note. The choice of finger is left up to you, as your fingers will dictate what is most comfortable, especially when playing a song up to tempo! C. The diagram below shows an open sixth string played with the thumb followed by the second fret of the third string played with the index or middle finger:
Copyright © 1965 Oak Publications All rights reserved. Used by permission.
These words are most suitable for introducing the tablature system, for tablature is just a guide and should be used in conjunction with the recordings. Tablature is not like music notation, however the combination of tab and music in an arrangement forms a complete language. Used together with the original recordings they give a total picture of the music. The tab system does not attempt to show rhythms or accents. These can be found on the music or heard in the recordings. Music notation tackles these articulations to a degree, but the overall sensations, the feel and the soul of music cannot be wholly captured on the written page. In the words of the great Sufi Hazrat Inayat Khan: “…The traditional ancient songs of India composed by great Masters have been handed down from father to son. The way music is taught is different from the Western way. It is not always written, but is taught by imitation. The teacher sings and the pupil imitates and the intricacies and subtleties are learned by imitation.” This is the theme I’ve tried to interpolate into the tablature. Tablature is the roadmap and you are the driver. Now to the tab: Each space indicates a string. The top space represents the first string, second space the second string, etc. A zero means an open string, a number in the space indicates the fretted position, for instance a 1 in a space indicates the first fret of that string.
1 2 3 4 5 6
1 2 3 4 5 6
0
1
2 0
In most cases the thumb will play an alternating bass pattern, usually on the bass strings. The index and middle fingers play melodic notes on the first, second and third strings. Please remember, this is not a rule; there are many exceptions. In fingerpicking there are two “picking” styles: Regular picking and “pinching” two notes together. A pinch is shown in the tab by a line connecting two notes. A variation of this can also be two treble notes pinched with a bass note. Follow the examples below from left to right: 1) 1 2 3 4 5 6
2)
3 0
3)
4)
5)
1 3
1
3
1
6)
3 1
1) The open sixth string is played with the thumb. 2) The first fret of the sixth string is pinched together with the third fret on the third string. The sixth string is played with the thumb, the third string with the index finger. 3) The thumb strikes the third fret of the fourth string. 4) The first fret/sixth string is played with the thumb; it’s pinched with two notes in the treble. The index and middle fingers strike the first fret/first string and the third fret/ second string. 5) The next note is the index finger hitting the first fret/second string. 6) Lastly, the bass note is played with the thumb on the third fret/fourth string.
1 2 3 4 5 6
In the diagram below the zero is on the second string and indicates the open second string is played. The 1 is placed on the third string and signifies the first fret of the third string. Likewise, the 4 is in the fourth space and indicates the fourth fret of the fourth string.
TAB SYSTEM
There are certain places in blues and contemporary guitar that call for the use of either strumming techniques or accented bass notes. The tab illustrates these as follows: 1)
4
E 1 2 3 4 5 6
2
2 0
2) 0 0 1
3)
y 2 0
4)
5)
0 0 1 2
0 0 1
i
t
3) HARMONICS: Symbolized by a dot (•). To play a harmonic: gently lay your finger directly above the indicated fret (don’t press down!) The two notes in the example are both harmonics. The first on the twelfth fret/third string is played with the index/middle finger, while the second note—twelfth fret/fourth string—is played with the thumb.
1) The thumb hits the open sixth string and the second fret on the fifth string should also sound. For example, play an E chord. Now strike the open string and vary the force of your attack. Try hitting it hard enough so that the fifth string vibrates as well. This technique is very important for developing a full sound and the right alternating bass sound.
4) SLIDE: Shown with a dash (–). Play the second fret/sixth string and then slide up to the fourth fret of the sixth string. This is a continuous movement: the string is struck once with your thumb.
2) Next the arrow notation indicates a brush and the arrow head indicates the direction of the brush. A. If the arrowhead is pointed down, the hand brushes up towards the sixth string. B. If pointed up, the hand brushes down towards the first string. C. The number of strings to be played by the brush is shown by the length of the arrows. For example, this arrow shows a brush up toward the sixth string, but indicates to strike only the first, second and third strings. D. The brush can be done with your whole hand, index finger or middle and ring finger. Let comfort plus a full and “right” sound guide your choice. 3) The third set of notes again shows the sixth string/open bass note played with the thumb and being struck hard enough to make the fifth string/second fretted position sound. 4) Once more an arrow pointed downward indicates a brush up. This example forms an E chord and the brush up includes the first, second, third and fourth strings. 5) The last set of notes has an arrow pointed upward, indicating a brush downward striking the first, second, and third strings. Here are several special effects that are also symbolized in tablature: 1) 1 2 3 4 5 6
2) 7 8 W
2 3H
3)
12 •
4)
5) 9 P7
12 • 2 –4
1) HAMMER-ON: Designated by an “H” which is placed after the stem on the fret to be hammered. In the example above, fret the second fret/fifth string and pick it with your thumb. Then “hammer-on” (hit hard) the third fret/fifth string, i.e. fret the third fret/fifth string. This is an all-in-one, continuous motion which will produce two notes rapidly with one picking finger strike. 2) WHAM: Designated by a “W.” In the example the eighth fret/second string is “whammed” and played with the seventh fret/first string. Both notes are played together with your index and middle fingers respectively. The whammed note is “stretched.” We do this by literally bending the note up. We can “wham” the note up a half tone, full tone, etc.
5) PULL-OFF: “P” designates a “pull-off.” Fret both the seventh and ninth frets on the second string. Play the ninth fret with your index/middle finger and then quickly remove it in the same stroke, leaving the seventh fret/second string. Pull-offs are generally in a downward direction. 6) In certain cases other specific symbols are added to the tab, for instance: A. For ARTIFICIAL HARMONICS an “X” is placed after the fretted position. B. For SNAPPING a note an indication may be given with a symbol or the written word. Many times these special techniques are combined, for instance putting a pull-off and a hammer-on together. Coordination of your fretting and picking hands will be complex initially, but the end results are exciting and fun to play.
PICKING HAND POSITION FOR FINGERPICKING STYLES: The Classical and Flamenco schools have strict right-hand rules, however for this style of acoustic fingerpicking there are NO RULES, only suggestions. Your right hand position should be dictated by comfort, however in observation of many well-known fingerpickers I found one hand position similarity—they all tend to rest their little finger and/or ring finger on the face of the guitar. This seems to help their balance for accenting notes and control of the guitar. Experiment with this position: it may feel uncomfortable at first. I ask my students to perfect this position and then compare the sound to when their finger(s) were not placed on the face of the guitar. They usually find the sound is greatly improved when some contact is kept with the guitar face.
MUSIC NOTATION: We have somewhat adapted the music notation in that this also shows whether the note is picked with your thumb or index/middle fingers. The stems of the music notes correspond to the direction of the tab stems. I hope this will make the music notation clearer to fingerpicking guitarists.
I hope you will feel at home and comfortable with the tablature and musical notations. Remember, these are only road maps indicating where and how you should place your fingers. The playing and musical interpretation is up to you.
3
BLUE MONK
By Thelonius Monk © Thelonius Monk Music All Rights Reserved. Used With Kind Permission
# # # 12 j œ #œ 8 œœ & œ Jœ n œ
Ô
1 0
2
0
2
j œ #œ œ nœ œ Jœ n œ
j œ ˙. # œœ ˙œ .. œ . J
3
4 0
3
4
0
### j Œ. & œœ # n œœ n ˙œ . œ bœ. J œ œ J J 5 6
&
###
Ô &
Ô
0
4 4
2
0 3
1
0
j j œœ œ n œœ b œ œ. nœ.
4
###
4 5
3
3
œœ .. œ.
2 0
3
4
5 0
0
2
3
4
j j œ #œ œ œ œ n œ # Jœ J
n œœ œ
Ô
2 0
3
4
5 0
0
2
3
4
j . n œ # œ # œ . n œ ˙˙ . # œ œ nœ œ J
2 2
0 1
2
1
j œ œ #œ J
1 –2
0
˙ .. ˙œ .
2 0
1
0
3 2
0
1
4
3
2
2 1
3
2
5 6
5 0
6
7
8
4
5
6
8 7
6 7
œ.
0
j œ #œ œ œ ˙. # œ n œ # œ n œ # œ œ b œ . n ˙˙ . . œ œ J J J Œ
6
0
2 0
1
0
4
3 2
j j n œ ˙ .. n œ # œ œ b œ n œœ œ # œ œ ˙œ . J J
0
0 0
6 4
4
œ.
j j j j œ œ œ b œ œ . n œ # œj œ . œ œ œ bœ œ. #œ. nœ. œ. n œ œ œ #œ. nœ. œ. œ J J 0
4 3
0
0
1 0
j j j œ œ œ b œ œ . n œ # œ nœ œ œ œ. œ n œ # œœ .. # œ J J
˙ .. ˙. œ œ.
3 0
0 6
0
3 0
6
0 7
7 P6
j . j . œ œ œœ nœ #œ œ # b œ n œ œ œ œ nœ œ. J J J
3 2
0
1
4
1
2
0
2
2 1
0 1
SWEET AND LOVELY By Gus Arnheim & Charles Daniels © Chappell & Co. All Rights Reserved. Used With Kind Permission
#### 4 ˙ . 4 & œ
œ
bœ
œ œ
œ œ
2
2
n ˙œ .
j œ œ œ œ œ nœ #œ œ nœ œ nœ œ
œ
œ
œAå 0
Ô
2
1
2
&
####
1
˙. nœ
œ
Ô
1 1 0
1 1
&
####
œ œœ œ # œœ œ œœ œ
Ô 1
2
0
1 4
˙˙ œ
fi œ œ nœ œ
2 2 2
1
2
2
1
0
# # # # ‰ n œj œ n œ œ œ n œœ & œ œ
œ
2 1 2
0
0
œ n œœ
n ˙˙˙ nœ
0
0
0 2
5 4 5
0
1 0
1 3H P 1 P 0
0
4
3
0
œ
n œœœ n œ nœ œ
0
2 3 5
4
3
Œ œ #œ
œ
0
2
1
2.
œ œ œ œ .. œ œ
œ w
2
2
2
2
1.
œ
1
2
3
2
0
1
2
1
œœ œ nœ
œ œ œ.
2 2
1
2 3
5
2
j œ œ œ œ œ
œ. w
.. 2
œ œ J
œBå
Ô
0 0 0 3
4
Œ œ
0
4
0
n œœ nœ
œ
0
0 0
2H
œ ˙
œ
2
œœ
1
œ
0
1
œ
0 2 P12HP1 0
2
# # # # ‰ n œj œ n œ œ œ n œœ œ œ œ & œ œ nœ œ
Ô
1
1 3HP1P0 0 4
0
3
#### n œ n œ n ˙ . n n œœ n œ ˙˙ .. & nœ œ œ œ J
Ô
0 1H 3 0 0 0 2H 4 3
& fi
####
3
3
0
2
2 2
j œ. b œ nœ œ œ œ œ. œ J 1
2 3
2
œ J
3 3
1
3
œ Ó
1
2
1
4 –3
4 3 1
1 P01HP0 0
1
2
1
˙˙ ˙
œœ œ
0
0
6
4 6
5
6
2
j n œœ n œœ œ.
3
4 4 2
3
www ww w
3 P1
1 1
3
CODA
0
Œ
‰ b œj n œ n˙j n œ bœ. œ œœ œ . Œ J
Ó œ #œ œ ˙ nœ #œ w
Ô
‰ b b œœ œ n œ œ n œ œ n œ bœ bœ nœ œ nœ
2 0
0
1
j œœ nœ J 4 2 3
˙˙ D.C. al fi œ nœ #œ J J
0
3
SWEET AND LOVELY IMPROVISATION
#### Œ & œ
Ô
œœ
nœ bœ
2 2
3
2
&
####
Ô &
Ô
0
2
0
1
0
0 1H
0
1H
2
0
2
1H2H
1 2
nœ œ
2
nœ
4
3
0
2
4
4
2
0
3
j j œ œ
7
2
4 -6
Œ
4
0
œ œ
œœ n œ bœ
œœ
0
2 2
0 1
3
2
0
nœ nœ 3
1
nœ œ œ nœ #œ œ œ nœ œ 1
0
0
1 1
3
3 3
œ.
œ
2
2
0 1HP0 0
2 2
1
2
0
0
0
3 2
2
2
œ œ œ œ œ Œ
3 3
0
0
3
œ œ œ œ œ œ nœ œ œ 2
3 P2
3
0
0
nœ œ œ #œ œ œ œ
j œ œ œ nœ œ œ œ œ œ . # œ nœ œ nœ nœ œ
2
0
3
4
0 2
œ œ b œœ œ
0
0 0
0
2
0
3
3
nœ #œ œ œ œ nœ œ œ œ
j nœ #œ
0 1H
n œœ
4
3
0
2
#### œ œ œ ˙ & nœ œ œ 0
3
œ nœ
4
0
œ nœ #œ œ œ œ 0
0
œ
0
0
0
n œ . œ n œj # œ œ œ nn œœ œ nœ œ
2
3 0
1
3
0
Ô
œ œ nœ œ ˙ nœ œ œ
1
1
####
œ œ
0
1 0
2
&
####
n œ n œœ œ n œ # œ œ œ œ œ œ œ œ
Ô
0
&
0
2
2
0
####
1
3
œœ n œ œ œ œ œœ œ œ nœ œ œ nœ nœ Œ 3
2 1
2
1 0 1HP0 0
0
0
2
0 0
2
œ œ nœ œ œ œ œ #œ nœ #œ œ bœ œ nœ
2
3
1
0
0
2
3
3
j nœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œœ ‰ ˙ œ œ œ J
0
0
0 1HP01H
4 0
1
2
œ œ œ œ œ œ œ nœ ˙ ˙
X
Ô 2 0
&
####
Ô
2
0 1
1
2 0
0
œ œ n œ œœœ ˙
2
0
1
0 1 2
0
1 2 2 X
2
2 1 2
3
1
0
2
1
0 1HP0
2
0
4
2
0
j œ
œ.
j œ œ œ Œ ˙
œ 0
4 4
2
4
0
3
0
2
0
1
2
n œ œ n œ b œ œ b œj nœ. b˙ n˙
3
1
1
1 1
8
3
4
1
0
0
œ bœ œ n˙
4
3
œ œ œ ˙
4
4
3
3
3 P2 P1
2
2
0
0
3 3
u
j œœœ œœ ˙ œ
j #### n œ n œ œ. & œ œ n˙. œ
Ô
1
2
4
2
3
n # # œœœ n œ # œ n˙
4 3 4H 2 4 2
œ œ œ œ 2
4
œœ X
2 4 4 2
X
t
#### œ & œ
œ œ
2
2
Ô
œ bœ 0
&
#### œ nœ
Ô
4
1
0
3
0
1
&
œ œ
0
3 0
0
0
1 0
œ œ œ œ œ œ œ
0 1H 2H
0
3 P0 2
Ô 2
0
0 2 1
2 1 2
X
0
0
u
j œœ ˙˙ œ ˙ ˙
0 1
0 0 1
0
0
9
0
3
2
2 P0
œ œ œ
3
0
2 2
œ œ nœ n œ œ n œœ œ 1 0 2
j œœ œœ ˙ 0 1
œ
3
2
X
0
0
œ
3
2
0
œœœ œ
3
3
‰ n œœ œ œ œ œ
œ n œ # œ œœ œ
0
0
4
3
2
nœ œ nœ nœ nœ
œ œ
4
0
œ nœ œ n œ n # œœ œ œ œ
1
####
2
3 1
2 2
œ œ nœ œ œ nœ œ œ
n œœ
œ œ
0
2
0 3
j nœ #œ
0 1H
OUT OF THE PAST By Benny Golson © Time Step Music All Rights Reserved. Used With Kind Permission
Œ 4 b & 4 ˙
Ô
œ ‰ œj œ #˙
˙ ˙
3
3
5
4
& b ˙˙ .
Ô
Ô
2 5
& b Œ # # œœœ ˙
Ô 0
œ ˙
3 0
œ. # œ˙ .
0
2 2 4
˙
0
0
3
j œœ ‰
2 2
2 2
2
˙. # # œœ n ˙ . ˙
3
2
‰ œ ˙
3
˙
0
1.
2
œ
2 1 0
0
10
˙. #˙
œ
œ
˙
3
2
4
1 0
˙
w #˙
˙
0
4
0
2 3
j œœ œœ ˙
0
5
w ˙
3
0
˙
2 2
nœ bœ
P0
˙˙ .. n˙
# ˙˙ .
2
˙
2
œ
3
0
1
j ‰ œ œ
2 1 2
Œ œ œ ˙
3
˙. ˙
0
3
œ
5H
œ
˙
3 5
& b Œ˙
3
3
j œ œ ˙
œ
˙˙ n˙
2
0
2 3 2
3 0
˙
‰ œœ .. #˙
0 0
0 1 0
2
‰ n œ .. # œœ . ˙ 0 1 0 0
œœ ˙ 1 2 0
œœ
2 3
..
..
2.
œ œ ˙
& b ‰˙ œ .
Ô
˙. ˙. n˙
0
3
2 3
œ.
œ b˙
1
˙ 0
3
2
1
œ œ œ œ
œ.
j œ w
˙
b˙
w
0
5 6H P5 P3
1
3
2
6
0
0
j œ œj œ . b˙
0
3
6
4
3
1
1
ALTERNATE MELODY, FIRST 6 BARS
Œ &b ˙
Ô
œ
œ #˙ œ œ
3 5
& b ˙˙
Ô
3 5
ENDING
œ. b &
3
4
0
3
5H
3
# ˙˙
œ˙ œ œ
˙. #˙
2 2
2
3
5
2
˙
P0
2
0
j bœ bœ œ œ œ
4
0
3
œ œ œ
œ œ œ œ
˙ nœ œ ˙ œ œ ˙ Œ. J
break time
Ô
1
2
1
3
0
3
2
3 –– 2
3
11
0
2
0 0
2
3 0 0
œ
1
œ nœ bœ ˙
1
3 P0
3
2
˙ ˙
œ˙ œ œ
3
œ œ œ ˙
˙ ˙
3
ST. THOMAS Tra. Arr.Sonny Rollins © Copyright Control All Rights Reserved. Used With Kind Permission
Drop D Tuning
j œ œ œ œ ˙
## 4 & 4 Œ ˙
Ô
2
3
&
œ ˙
Ô
j œ œ œ œ ˙
2
3
2
0
˙ n˙ ˙
2
3
5
2
4 0
5
0
2 0
œ ˙
4 0
0
˙ ˙ ˙
œ ˙
4 0
. ‰ œœ . ˙
n ˙˙ ˙
2
0
2
5
˙˙ ˙
œœ ˙
0
2 2
œ
œœ ˙
0
2 2
œ œ
3
2
3
5 0
4
œœ ˙
œ œ
3
2
3
5 0
4
4
5
0 3 6
3
2 2 0
X
12
0
0
œ. œ. ˙
0
5
j œ œ˙ œ
0
5
œœœ œ #œ œ 2 2 5 0
0
0
5
3
‰˙ # œ œ œ
0
X
3 4
j œ œ˙ œ
Œ. ˙
n ˙˙ ˙
6
œ
œœ ˙
Œ. ˙
0
œ
7 7
5
n ˙˙ #˙
œœ ˙
˙˙ #˙
3 0
5
œ
4
˙ ˙ ˙
5 4
œ
4
4
# ˙ & # ˙ ˙
0
0
2 0
œ
# ˙ & # ˙ ˙
Ô
0
j œ œ ˙
0
0
Ô
œ
0
0
##
2
j œ œ ˙
5
6
3
0
j œ œ˙
œ
0
0
3
u
4 0
5
&
##
œ
œ
œ œ œ ˙
3
2 P0
˙
œ n˙
œ
˙ #˙
2
2
j œ œ ˙
j œ œ œ œ ˙
3
3 P2 P0
œ b˙
œ
˙ n˙
2
2
ENDING
Ô
3 0
2
2
3 3
4
## ˙ ˙ & ˙
n ˙˙ ˙
2
0
2
5
3 4
0
0
4
5
6
Ô
˙˙ ˙
3
0
5
n ˙˙ #˙
œœ ˙
2
œ
œœœ œ
1
œ #œ
X
2 2 0
3
3
2 2 5 0 X
13
3
w w w
3
u
4 0
2
TINTIYANA By Dollar Brand © Tempo Music, Inc. All Rights Reserved. Used With Kind Permission
Drop D Tuning
# 3 & 4
œ
˙.
œ
œ
œ
œ
˙.
œ
œœ
œ
Ô 0
5
0
# . & . œ ˙.
j œ œ.
0
5
‰ j œ œ œœ
˙. ˙.
0
2
5
0
œAå
Ô
..
0
4
2 5
0
# & ‰œ œj œ œ
Ô 5
&
# ˙. ˙.
Ô
0
4 0
˙. ˙.
0
2
5
0
Óœ œ œ
3 5 5
œ œ
0
0
0
4 0
0
œ œ
5
œœ
œ ˙.
0 3
4
œ œ
0
0
4
5
0
0
5
j œ œ.
0
0
œ ˙.
0
0
œœ
œ ˙.
5
‰ j œ œ œœ
5
14
j œ œ.
5
j œ œ.
0
2
‰ j œ œ œ œ
3 5
0
œ œ
0
5
0
3
5
2
0
0
0
0
Ó œ œ œ
5
Ó œ œ œ
0
5
0
4 0
œ œ
˙. œ œ J
0
2
5
0
œ J
0
œ
0 0
&
# ˙. œ œ J
Ô
5
œ J
4
4
4
4
0 4
5
5
5
œ œœ
7
8
7
7
5
7 5
9 7
7 5
7 5
5 4
# . œ œ œ œ œ . œ œ œ œ œ œ œ œBå ˙
Ô
..
7 2
7 2
0
# œ œ œ œ œ œ ˙
Ô
7 2 0
7 2
7 2
œ œ œ œ œ 7 2
œ
0
œ J
6 6
j œ œ. œœ œ . J #œ.
œ œ œ
œ œœ
œ œ œ
7 2
3
œ œ œ
7 2
3 4 0
5
7 5
5 4
œ œ œ
0 0 5
15
œœ
..
0 0
œ
œ
4
5
5
0
˙. ˙. ˙
œœ œ
2 0
2 0
4
4
œ œ œ 3 4 0
2.
3
0
œ œ œ
i
˙. ˙. ˙
0
4 0
œ œœ
7
œœ œ
j œ .. œ œœ .. œ #œ. J
1.
0
&
œ
6
6
0
&
7 2
7
5
œ œœ
7 2
˙. #œ #œ J
œ
œ J
j œ œ. œœ œ . #œ. J
# œ & œœ
Ô
œ
˙˙ .. œ œ J
œ
œ
7
5
7 5
5 4
Œ œ
i
0
˙œ œ Ó œ
2 0
0
0
‰ j Ó œ œ œ
œ
5
œ
3 4 0
5
0
0
5
# œœ & ˙
œ œ
7 3
7 3
Ô
œ œ
œ œ
7 3
œ œ œ
œ œ œ
œ œ œ
œ œ œ
˙ .. ˙ ˙
7 3
3
5
3
4 0
5
4
œ
7 3 5
3
5
# œ œ œ œ œ & œ œ œ œ œ œ ˙ œ
Ô
7 2
7 2
7 2
7 2
0
œ œœ
œ œ œ
7 2
3
0
# & ˙˙ .. œ œ J
Ô
0 0
œ J
5
5
5
&
5
# œ œ œœ # œœ
Ô
œ
˙ ˙œ
˙˙ .. # œ #œ J 3 4
œ
7
5
7
5
7 5
5 4
7 5
5 4
0
5
˙ ˙œ
5
0
œ
6
œ œ œœ # œœ
..
œ
.. 0
16
0
œ J
1 2
4
6
6
3 0
œ
0
˙˙ .. œ œ J
œ
3
0
6
5
˙. ˙. œ œ J
0
œ J
œ
˙œ œ Ó œ
3
5
œ œ œ
4 0
œ
0
œœ œ
œœ œ
2 0
2 0
4
4
5
œ J
4
œ
4
4
4
œ œ œ
œ œœ
œ œœ
œ œœ
3
7
8
7
4 0
7 5
9 7
7 5
j # œ œ. & œœ # œœ . J .
j œ œ. œœ œ . J #œ.
œ œ œ
œ œ œ
j œ œ #œ J
œ. œœ ..
j œ œ #œ J
œ. œœ ..
5
3
5
5 4
4 2
5 4
œ œ œ
j œ œœ J
œ. œœ . .
3
3
2
4 2
4 2
2 0
œ œ œ
44
œ œ œ
ENDING
Ô
7
5
7 5
5 4
0
7
5
7 5
5 4
# 4 #˙. œ & 4 ˙. œ œ œ œœ
Ô
œœ œœ 0 0 0 0
2
2 0
2
0 0 0
2
5
0
2
œ nœ
Ô 0 5
8
Ô 0
œ
0
# œj & nœ œ œ
5
˙˙ .. ˙. œ œ œ
2
‘THUMB-PIANO’ RIFF
# ‰ & œ
0
j œ
œ
5
˙˙ ˙ œ œ
5
j œ nœ œ œ
7
0
0
œ
œ
j œ
œ œ
0 7 0
0
œ
0 8
5
0 8
0
0
˙˙ ˙ œ œ 0 0 0
43
0
5
œ œ œ œ œ œ
0
0
œ
7 0 9
0
17
2
œ
0 7
0 5
˙ # ˙œ
0
˙ ˙œ
5 0 7
œ
0
œ œœ
0 8
˙ .. ˙ ˙
4 ——— 2 0 5 ——— 3 0
2
ggg ˙˙ .. ggg ˙˙ .. ggg ˙ .. g˙
0
1
j œ nœ œ œ
j œ
œ
0
5 1 2 0 0 0
i j œ
œ
0 7
Œ
MR. JELLY ROLL SOUL By Charles Mingus © Jazz Workshop Inc. All Rights Reserved. Used With Kind Permission
j ### 4 œ œ œ. œ 4 œœ . œ œ œ ˙ & œ œ œ
Ô
2 –3
0 2
0
2
### ˙ ˙ & œ
Ô
3 2 2
0
œ
0
œœ œ
œ œ
2 1
0
2 3
3
3
2
3
0
6 5 0
0
2
### œ œ œ & œ œ
2
0
2 2
0
2 2 2
0
0 1
œ œ œ œ œ
2
2 2
6
0
0
n œ .. œ nœ nœ J
0
2 0
2
5
18
1
4
nœ
3
0
0
2 0
2
3 2 3 2 4 2
4
œ
2
œœ
2
2 0
3
j œœ œ œ œœ œ . œ #œ œ œ
œ
2
œ
1
2
3
3
0
nœ œ œ œ œ nœ œ
2
4
0
0
œ
‰ # ˙˙ œ œ J
3
nœ
0
2
˙ œ
2 2
2 –3
0
3
w œ
0 2
0
œœ
4
3 P2
œ
œ œ
3 5 4
j œ œ œ. œ œœ . œ œ ˙ œ œ œ œ
0
‰ n œœ œ #œ œ ˙ J
‰ œœ œ. œ
0 0
0
0
œ œ œ œ œ œ 0
2 –3
2
n œœ œ œœ œ
0
3
Ô
0 2
0
1 0
3
0
1
### n œ œ n œœ ˙ œ & nœ œ
Ô
œœ . œ œ œœ ˙˙ œ œ œ
3 1
0 0
0
∑ nœ J
#œ
3 4H
œ
0
nœ
3
