GUITAR TRANSCRIPT john Scofield CNA ML Compositions by John Scofield, except “Bass Desi ‘Transcriptions by Kenn Chipkin and Fred Amendola. ‘Music Editing by Jefferson Newman Text Editing by Carol Flannery ‘Art Direction by John Flannery Produced by John Cerullo ; Cover Photo by Gary Gershoff 9's" written by Peter Erskine Copyright © 1987 Third Earth Productions, Inc. All Rights Reserved. Any unauthorized uso of the ‘material herein is a violation of copyright law. Exclusively distibuted byCONTENTS NOTATION LEGEND - 5 BASS DESIRES -6 THE NAG - 16 FAT DANCER - 26 FILIBUSTER - 32 HEAVEN HILL - 39 GIL B643 - 44 NOW SHE’S BLONDE - 51 PICKS AND PANS - 56 PROTOCOL - 64 SO YOU SAY - 69 STILL WARM - 75 TECHNO - 81 THANKS AGAIN - 89 BLUE MATTER - 94 TRIM - 103COE B il B pe ca’ — f s- > s BEND BEND 4 Ske the fr note onthe beat Immediately bend upto the pitch of the eecend note, ® oes PREBEND. Ft he ot in parenthesis. Bend upto the pitch of the weoond note efor sing i UNISON BEND (One not is bent up to equal the pitch of the other note. The two notes are played Smulancouly on ajacem singe s aS old he fit note forthe ine ‘vale inficatd before bending op tothe pitch ofthe second note ®r a PREBEND AND RELEASE ‘Aprebent not is stuck on he best “immediatly release down tothe original ‘ested noe (an Foe inthis example). Vee HAMMER ON Swe cnly the fit not. Hammer on the send nate with another fret hand finger. LEGATO BEND AND RELEASE Ske only the first nts. Bend "upto the second not, then ‘lease down tothe third note oR eee PREBEND AND RELEASE old he preben note forthe Indicated ime value before releasing tothe secon note as PULL OFF ‘Suike only the first note. Then pall he finger off tha note ‘tusng the second note to sound, s ee = = eo SLIDE Strike only the fist noe ‘Then slide to the second ‘SLIDE Both ots are stack Slide foe he fist me SLIDE ‘Slide tos note frm an indefinite pitch or vice < ioe Es 7 PALM MUTE MUTED STRING ARTIFICIAL HARMONIC — je es J MICROTONE BEND MICROTONE PREBEND AND RELEASE. FRETBOARD TAPPING Ske the nate shown, Tnmediately bend up a fraction ofa ta indicated Prebend and lease as sated above on second in except tha the ammount bent isa fiaction of fret a indicated 5p (hammeron the fetboae with nd finger opty the tapped nt. inthis case, pull off othe second noteBASS DESIRESNYA PETER ERSKINE Fast Swing Bass & N.C. (Continue Bass Line) Gtr, 1 (Scofield) Aawanwannannane mf Gtr. 2 Frisell) Bass and Drum fill 10 Copyright © 1985, Ersko Music International Copyright Secured Made in U.S.A. All Rights Reserved Used by PermissionSolo - Ad Lib (Scofield)"Bass Solo -Free (Gurs.tacet) molto dim. Ge. 1 Scofield) awawanwavaw af Gur. 2 (Frisell) me eeGtr, 2 Solo (Frisell) - Free a Drum FillTHE NAGTHE NAG JOHN SCOFIELD Fos Pink ee X tr awwany z oi = zt = = ee —rf 3 BSF be e Se BS ee Wide vin. = 2 ae veree aaa Se Copyright © 1987, Scoway Music International Copyright Secured Made in U.S.A. AllRights Reserved Used by Permission a) =e ‘s oe 3 Pee SS Ss : ieee ' . : i = —————— == bee 2 = = _ be!Dow E Maj BMg7 CTsust AB7,I3. FIA DbI(I3) ToCoa « TEE i b, | End Bass Fig. 2 ww/ Bass Fig. 1 Ds9,#11 — ——— — _ ww/ Bass Fig. 2 Dealt Db Maj.7 pow EMaj7 BMaj7 Cisuss AbT,13. FIA e713 s a vw/ Bass Fig. 1 until change DOFLI s op [B MetosyRhy. Fig. 1 Ebm7s$ D9 A6s/C# Ebm7b5 D9 A6.9/CH Ebm7bS D9 A6S/C# Ebm76S D9 End Rhy. Fig.1 A69/C# w/ Bass Fig. 2 DellDb Maj.7 Do#it EMaj7 BMaj7 ay13 FA Db7,13 ‘w/ Bass Fig. 1 until change ama — hy Solo Play Rhy. Fig. 1 Ebm7es D9 AG 9/CH Ebm7b5 D9 A6,9/C# Ebm7S D9 AGICH Ebm7s5 D9 A6,9/C# a aE tia. Cons Son:Slow Play Rhy. Fig, 1 Ebm7bS D9 AG9ICH aawanw Ebm765 be Asgice §.es Eas By. Bie! 4 Ebm70S Do ABSICH Ebm7b5 D9 A6,9/CH, Op Ebm7bs D9 AG SICH & loco Ebm7bS D9 A6,9/C# Db w/Bass Ad Lib until change a s rey 5pete oR AY ww/Bass Fig. 1 util change £ Pray Ry. Fig PayRiy Fie ot Bons DD ASIC Ebm7bS D9 AG9/CH Bpm7bS D9 A6SIC# Db w/Bass Ad Lib until change‘w/ Bass Fig 1 until change Wide Vibro Melody away, (B) MessBee SS Rhy. Fig. 1 Ebm7b5 D9 A69/C# Epm7bs 7 End Rhy. Bbm7b5 bo A6,1CH Fig.l Ebm7bs D9 A6,9/C# = w/Bass Fig. 1 Soa ~~ ~ DC. al Cota % Coda pyryg ETH FTASDIS ue = 5 ®FAT DAN PERFORMANCE NOTES When we were putting this book together, we decided 10 Include one of my older tunes, and | picked this one from a record album called Bar Talk. itwas made by my tio with Steve Swallow on bass and Adam Nussbaum on drums. I's kind of hard for me to go back and listen to the ld stuff. | think ve gotten a ot better since then, but this ‘one seems to have most of the same types of things init that T'm playing now. ‘One thing that's changed a lot is my sound on the guitar. This was recorded with usta straight CNS 335 and a Polyione ampli, and now it sounds very dry to me. There's no stereo Chorus as on the rest of my tunes and absolutely no distortion to fatten it up, so the sound isa ite bit tinny The tune is a nice one. | think Steve Swallow's and Adam ‘Nussbaum's work is really great. | wish we would have been able to include Steve Swallow's bass solo on this piece because i's a ‘masterpiece uno itsell. Hf you can find the record, check it out. its ‘out of print, but think it may be reissued in CD form fairy soon. The song has a slow, loping, bivesy feel wth a solo form of eight bars pretty much inthe key of C# minor. On the second to last chord ofthe eight-bar phrase, Dmaj7, you can hear that | sometimes substitute D7-sort of a V-I cadence in C# minor. That's a nice thing-when there's no piano or keyboard comping, you can get away with changing the chords when i's just a bass undemeath you. Anyway, the solo stars off fail lyrically; then | goto octaves and some fast sixteenth- ‘note stuf to build it up a litle bt. Then we go to the last phrase of the ‘melody, which uses an interlude between solos and then on to the bass sol. Incidentally, in he three-note chord in bar 3, whichis on the third beat, the note CiFis a mistake. I's on the record, but | didn't mean for itto be there. Sof anybody wants to learn to play this tune, don't play that C8. Although it is on the ecord, nobody's perfect. Do you know what ! mean?ae JOHN SCOFIELD 292 Siow Swing. Feel E/G# Fim? Bm7(4,13) E/G# A -Maj.7_DMaj9 D Majo can E/GH AMaj7 Bm7G4,13) E/GH Fim9 —-Bm7(4,13) E/G# AMa,.7 — DMaj9 cB 2pyright © 1979, Sanasu Music ternational Copyright Secured Made in U.S.A. ‘Rights Reserved: Used by PermissionTo Cola (it tna) ‘ or 70 Poti) — 7 Fim? ST tw Bm7(4,13) Bmit4,13) loco fee. Ss Bm74,13) ——E/G# DMaj9 Ciim7 AMaj7 3 Bm764,13) |—~= Bm4.13) Bim? 33 BiG DMaj9 s BmIts,13) Sy AMaj7 a bell Bm764,13)cola Bass Solo (Comp Freely) AMgi7 BG Fm? Bmi7(4.13) DS.al Coda 2 % Maj7 oe @hay 4) Coda2 Drum solo AMaj7 E/G# Fim? Bm7(4,13) E/G# ‘AMaj.7_D Maj.7 peers. tof Bm7l413) E/G# 31LBUST PERFORMANCE NOTES *Flouster" is a good example of ‘expanding one idea. The main part of this tune isthe sixbar progression of Am7/11 to F#m7b5 to F triad over G. | used this progression with diferent lines over it and iflerent soles over i, and sometimes a S010 ‘would come out, sometimes a writen figure would come in. I's really all over the place. ‘comes in, which is the same as solie number one, but in C faust wee ond wan ging youcan atone ebay pone { adiFLIBUSTER JOHN SCOFIELD Ge Aaah Pens ————= =| | Bas Figs eet a © End Rhy. Fig.1 | oa ==: — r= 25 2 He ° Ant a) omy. gt and Bass Figt ul change pms ®) RB na = = 2 ee = == — = Grr Solo Amt) @ g 62= SSS Copyright © 198, coway Music frnrnltone! Copyrgnt secured. Made in USA Ainge Reserved, Uses by Permission a3FG Samm) awe Soli #L AT) gy “ Am711) Sax Solo r aeeaneaannry away . = ae ——= o par Famvbs an?) ist, POCO 4 POCO mT (11)FAG Repeal last two measures of Rhy. Fig.1 and Bass Fig.1 2x @) ® mR 3 ‘Trombone Solo cardi ce, RY-Fie 2 AmTb5 ABD End Rhy. Fig. 2 nd only End Bass Fig. ha be Be Soli #3 - Cont. Rhy. . “ Rermsmne Dy ‘until change. £ Cart) £ mf ee mee Gur. Solo m7 (11) paseSoli #4 m7 (11) m7 (11) cm? (11) | © R £ bie ana Am7b5 sr 3 O34 Gr. Solo w/ Rhy. Fig! and Bass Fig 1 unl end of sng Am? (11) a 36m7 (11) - Fem7bs : ant & ;Am? (11) ae Cont. Gir. solo - Ad Lib Cont. AdLib Grr solo Play Soli #1 (using only 1st ending) Cont, Soli #1 (st ending) untill end of song. 12AVEN i PERFORMANCE NOTES This is a 9/4 bluesy ballad piece that | wrote. Originally this piece started on letter A, and it stil does ‘when we play it iv. What we did was edit out the beginning ofthe fist chorus and start on the end of the tune. So the recorded version actually starts on the last eight bars. We snipped it up during the mix, | had written the A section about five years ago and had another part that went with it. I had weiten the B section about a year or so ago_as part of a fast waltz, and neither tune realy made itfor me. Somehow, ‘when | put the two together, t came out prety good. I's funny how that happens when you write music, (il sit around with an eight-bar phrase for years and finally come up with something that seems to ft with Is ike putting together a jigsaw puzzle. There's not much for me to Say about ths tune except that | think i's one ofthe best | ever did, and its got a Ccerain feeling that was captured that day in the studio. I's avery simple tune, and wating simply is. not something that comes easy to me. write reams. and reams of complicated stl, it takes along time to {get to the easy stu. I's tke trying to ost everything ‘down inio the purest form. | think this tune came out pretty well that way.JOHN SCOFIELD Slow Blues Intro (Ad Lit) Key, G7 Pick up B7 sust/G#_AMaj7 AB Fam7(11) copyright © 1987, Seaway Muse copy ional Copyright Sones Made in U.S.A. inverights Reserves Used PY PermissionYr B TTS Am7(11) —D7sus4/B aay ees Boras) ge GMaj.7 a Em71) EnG# FHTDS PM. End Bass Fel Am7(11) awe D7B o® Bass Fig. 2 CMaj7 D9 —— CMaj7 ET suss/C# CD Gtr Solo with Bass Fig. 2 ‘Am7(11) Bas bee mf Am7(11) (CMaj.7 D7B Maj Em7(11)F7(b9) o E7susa/c¥ s ayB7suss/GH AMaj7 5 : ~~ F#m(11) rt 57 ENG A ENG# Fam7(11) BIO 42w/Bass Fig.2 eg Dre leo m7) “gy be * Suing irl bent when «feted © ote Is tapped causing ito sound ChGl B43 PERFORMANCE NOTES \ dedicated this ‘song to Gil Evans, a great arranger ‘and band leader. This piece reminded me of some of the stut Gi did wih Mies Davis in Sketches Of in. Ate | wrote i,t seemed as f some ol the nes inthe melody were similar o some of his on Sketches OF Spain. The melody at letter A was original witen as a guitar Solo over an F pedal, bul when | recorded @. we ended up having the keyboards play the chord, an | ust layed the top note ofeach vocing as a melody line. You an Play letter &on he guitar as a chordal piece, which | do 1, and i's interesting to soe how te tree diferent voices Move. They dont necessariy stay in the key of F minor, by any means The form ofthe headis an a withthe b section boing just an di thing over a aterent bass line. That second bass ine is very similar to @ Toto song, now that look back oni And as you know, imitation i the sincerest form of attry On the solo par of “GiB 643.1 really wanted to play a chord sol, done alot o Spanish type things wih Miles Dav’ tan and realy enjoyed playing modaly inthe Aeokan or Phrycian meds, So this wiole solo is basicaly chords. Most oft is rads. | use some dovble Stops and some siths and major sevenths, and prety much i's nse the key with some passing tones, | id use a lot of Vl cadences, ‘You Gan see examples of my using the C7 chord at bare BY 58, D161 and probably some other places inthe soo. ‘On the second solo, at B2-37, | even. used a G7 chord approaching aC minor. | played prety loose and went outside ofthe key a couple Sitges tying to do 30 taseuly- | notes at bs B1-35, resolved toa Gouble lop with Ab on the tp and A natural, the malor thir, onthe bottom, st To ea a litte dissonance | guess So | had some fun with thst realy enjoy paying these kinds of chord solo things. note | even quoted “Topsy.” whichis an old swing era sony tats at 81-97, I's funny to look back al these solos and see al he ite songs fragments o! songs that you quote. | think that that kind of mprowises one of {he nicest things in jaz2—not jst playing cks and pattems but paying melodies ©r parts of melodies, it gives a real yal feeling ike this tune because it sustains alyreal mood, and sustaining a mood is ‘something Im tying to do with my musi. ‘And ike this song Socause R sounds kind of mysteriousrr Gl BO4d JOHN SCOFIELD peer do ars es BY E SSE = =| | % 7 oe boi ofoy pee og a ezrin 1086 scomay Musle ‘Ai petenal Co copyright Secured Maden USA. Wha Feserved’ Use by Permission >Beni 37 __ Barn. 3s 47— Bars 61 : : ray [ovine go (Fim) With Bass Fig, 2until end1 ee ar k2-37NOW SHE'S BLOND PERFORMANCE NOTES v I wrote “Now She's Blonde" while | was on vacation down athe beach in North Carolina a year ago. I was listening to a lot of top 40 radio and thought | would try to write a tune that's basically set UP IK a pop tune, which is what "Now She's Blonde’ is. ‘The frst eight bars are one chord progression, and the second eight are another version of the same progression in another key, and letter B goes to a completely diferent progression altogether. Letter C is another one that's four bars long, and that goes to akind of release thing, the hook | quess, and then goes to a G7 vamp. On that G7 vamp, at bar 39, you can see the two guitars trading off rhythm figures, Fram Bullock was the other guitarist on thistune. We used him for the ‘hythm guitar because he's one ofthe greats on that. Then the guitar sol is very straight ahead: i's on the changes tothe tune. | enjoy playing over these kinds of diatonic changes alo. | think it gives you alot of possibilities for melody. So there it is "Now She's Blonde.” Eator's Note: The melody I played rely the second time (when D.C. al Coda taken),de jos fA] Metoay Copyright © 1987, Scoway Music International Copyright Secured Made in usa, All Rights Reserved Used by Permission> c7H9,013, Pa) £ Bullock ‘Cola Gur Solo ove End Rhy. Fig.” pm A/CH Scofield Scofield Bullock.A Bm7bs 3 Ab Maj.7 FMaj7 a) oa Abm7S ——ATsus4 Bm? loco " E913 tn >» w/Rhy. Figs Fe Se = sf oie er 3 Coda Keyboard outro (G7) w/ Rhy. Fig.1 repeat and fadePICKS AND PANS PERFORMANCE NOTES GukS and Pans" isa fast 314 piece. | decided todo this $08 on the record because | had heard Omar Hakkeim play Taras 3/4 stuf with Weather Report, and I really think he plays thal kind of stutf tantasticaly, Jen we were rehearsing the tune originally, cd have that long fon. What the long into. i, is just the bass line o the tune without the. seedy. When we were rehearsing just the bass ne to get togother, | thought, Sounds good by itsel. Let's use that as an into." Bar 54is where the melody comes in, and it you pay the melody, the double the melody, and the bassline together onthe gutar, you wil cone up with a, fice litle chord version ofthe whole piece. That's the way | wrote f at ome on the guitar The Solo starts with a sixteen-bar vamp of C# minor belore we {99 into the chord changes at bar 17 of the solo. ‘Then | Day on the progression, which is sixteen bars long The solo is pretty good. Check i out. | think it builds Up nicely, with the whole band building up into the keyboard solo | ike this song because i's very straight ahead, the ‘melody and then the changes. You know what you. hhave to do, and you go in and you do it.banat nal Copyright Secured Made in U.S.A. AllRights Reserved. Used by Permission JOHN SCOFIELD = + = © # fe e iets ace Bass Bass Fig. 1 Ley a“ = _| aa te eae =| ? ght © 1986, Scoway Music 872 a End Bass Fig. 1P fs 2 Ut Canes == 5k Verse w/Bass Fig, 1 until change ————p. [ColaSecondary Rhys aanaavavennane * een SEI [ds saswrenareennann inne Bm7 Gtm7bs, w CGrosSea until loco I Gis 09 3 ont Cal! Bm?Keytar Sl yma Sslo 5g yiyan 89 Cas Bo FWIa/A# Bo cmos, cs DI8 DS. al Coda Play 4x ® k GMaj9 cro cm7b5 37 PRAYPROTOCOL )PERFORMANCE NOTES 7” | The melody to “Protocol” is based on an interval figure that I have played around wih for awhile and have used when Jimprovise. | wanted to write a fast tune for the record that we ‘Could really burn out on. Fist wrote an almost atonal bass ne, That's the ist bass Ine you hear on heft two bars, which s the vamp thal we play over. Then very quickly | wrote a sixteenth-note melody, Which s almost ke an improvisation ise, based on this interval igure that | playa. Then we ook ‘short solos and played the melody in between tur soles. | even worked outa way to improvise sixteenth notes ovr the bassline, paying on the changes asi the bass ine actually changes. I worked outa couple of phases Ike that You can see tat atbar 11 inthe soo, and before that you can see me tying to get io some of those pattems, but ulimately | was really never abe to improvise over the bassline because i's oo hard, rakes "Giant Steps" ook ikea minor blues. The besc hoy center fr this tune is G7, but | play outside ofthat lt. going in and aut, fnd Im not ally sure wnat doing, t's just that n and out bop syle Ihave been working on forte lat few years Tris song was relly ust supposed tobe something get in here quicky and realy urn out, and I hink thas what me 6 also think the rhytm on apece ike this [ishistas mporant asthe meloymu JOHN SCOFIELD A fe Gu. \ . =e eS = Bass Fig. 1 To Coda | Gr. Soto Bap © 156, scowey Misc Mlsmation! Copyright Secured. Made in US.A. | AURighis Reserved Used by PermissionKey. Solo (Guitar Tacet)Pay [R] w/ overdubbed gr Svaup ve), Keyboard Solo g : SSS Solowfbass Fig. 1 = . tndx C7 a. | be oN ATIOICH 1 GmTiC o ——— GmTIC a 2. AB Mai 9 Copyright © 1987, Scoway Music Irtgenatlonal Copyright Secured Maden US.A. {Ei Fights Reserved Used by Permission 70 nanDoF De? a a ls fe tay Solo over Db Maj.7#11/0 Keybd. Solo over Keybd. Sol| | om ATisjCH Dm? } le cone DR AIG eae Badd9 cH oe ©)rbot CTsust Dp Mai-7#ILIC coal. Soa oe ATORICH Dm? ATbSICH sr Do Maj.7411/¢ Db7sus4/C ae BP me —| Dm? omc a F Bb oe a ATOOICH Dm7 Begin Fade Gmc a F Bb, 74=e uy JOHN SCOFIELD G76 suse 44130 (Ad Lib) ‘Ab Maj.7#11/6 Ab Maj-7usgig Ab Maj-7#11/G ‘Ab Maj.7sus4/G a. Tsu Melody F/G Ab69 Am FMaj7susa DPR G76 sust IG Abs Ab Maj.85 F sust/A Dre a76.suss “PM Am = FMaj-7sus4 2 nt Bras ae Oe Soe: dN —, rignt ©1998, Scoway Music Copy opyamt Secured Maden US.A Internatons carved Used by Permissionony Et Smits aa Fm6ic mt wD) Dbs#II CE An? Ab Maj745 BG AM 9 Am AmB C (AdLib) CID s uU Dire np 3 O16 ‘Ab Maj.7#11/G — ‘Ab Maj.7sus4 EG Melody ba—_——, gf € BG AW69 = Am FMA. Tsust —————_[- DIFH G76 sust BG Ab6.9 Am FMaj.7 sust FsustA Bras rd De Sha: bY DIFF GT6sus4_C/AD Ei3sust = Dm7aS_— bom bebe te Roe ohBG Ab69 Am Am7 Ab Mai745 Solo Ab Maj.7411)6, CF me sc ‘Ab Maj.7 sust/ BG £ 2 | ‘Ab Maj.7#11/G | G76 sus4 | crpsust Ab Maj-T#11/G igeeate ttre ee SE pe be | pstegecaatd Utter G16 sus face | £2 OA rea : PSSo Sat Pata eee ea Se FE aa 3 Pf ate heyMelody BG Ab 6.9 Am = FMaj7sus4D/R# G76 sust CAB Faust, > aawann ba Bm74s BIC pc Fm6/c ony E13sust — Dm7#5 ihe By bow s a Bb7bS FA OB c op Dire G7 susd ae MS loosely and si,nl JOHN SCOFIELD Enter Bass, Drums and Keyb Blm7(9,11) Bass Fg. 1 asBa (2 beat Drum lick) Gr, Bbmn7(9,11) Cont. Bass Fig 1 until change % ight © 1986, Scoway Music copy tional Copyright Secured, Made in U.S.A inifaighis Reserved, Used by Permission 82 #.os.% Fornd Verse (seh repeat) by. Fig 88 ‘Ebm7 ) te) cn Ebm7 Cont. Bass Fig. 2 until change S Fi ig. 1 oN sk in Rive Bo 17 Repeat Rhy. Fig. 1 one time p RPT Repeat Rhy. Fig. 1 one ti Bo poe Bbm7(9,11)_w/Bass Fig. 1 until changeBom? Der Bom? Der Do? Db? x Bom? Bbm? Do? & Weep ep SieDoT Bont 88-7 Bh? FUN D6 a a a a 8 -Bom? 86 oe anilBbm7(9,11) loco 87DSS.al Cols ber roam Db? ss 88 = al i fl Discontinue Bass Fig. 1JOHN SCOFIELD Siow Bates Rhy. Fig. pa ae Brawst9 FHT9,13 AmT613 Combs a ao Fi ADIOS FH 5 ene End Rhy.Fig.1 Repeat Rhy. Fig, 1 until end cng F¥769,13 righ © 1904, Scoway Msi enter Made in U.S.A. International Copyright Secur il Rights Reserved Used by Permission 90Antbl3 5 Cimmes or a o ee emir Gata aeFa13 B7susd Bysust.9 3 FITS s oa CHm7bS C7 kyEb13 BWE By qawanwney OR’ — =o = ye oS ee sae meseeaneane _ nevewveevee ; ~ S fe = : “e : = care FW7D9,13 AAAI NNAN SAN ARAN aneyaN JOHN SCOFIELD 4-120 Hatt Tene Fel ANC a oe (Cont, Bass Fig. 1 s ‘until change Lhe lan ~ aevewaway (1210) Bass Fig. 2 (Gur. Tacet) > 35 © 1967, Scoway Music ational Copyright Secured Made in US.A. Fights Reserved. Used by Permission_§ Ami(#5) BbTsus4(9,13) Cm? Eben? Ema (Emr BG, Ab My? A BA BMaj.7 Dosust oon ans Fn? Gm? Ab Maj7 BbTsus4 3 BM Gy ate? Boones 5 Ge Dennwt) Br (Vanp) ie seven > Biow)~~ BMaj.7_ Fm7b5 Bo+7 oS x AD Ma}70N) Ga ‘Atal, Abm7 Bbm7(#5) Ta Tine: Play top note only. Bm7 (Vamp) pos ens (H) Rhy Fig.1 (Keybd. or Rhy Gtr) - = ~ a 8 —=—— Ssx pro FIG GIA pecres End Bass Fig 3 Keybd: Pay Ry. Fg. ek w/Bass Fig. 3 pio (one time) Keytar Stn or]KeytordPay Ry. i :Keybd. or Rhy. Gtr, ® VR sep op) aoe Fug AbyBb Bbc Gm > ganna7 eus4(o,13) Cm a] LOI APM amt) Bo7sustt Boen7(H5) carts) BRE a 3 wo 101s 2 sep) awanws i popoenaeanns 102being a 2/4 ce, and the way it 103Li! JOHN SCOFIELD Ino 216 FO Fag 9 ALa ag DS e CMaj9 AB Bb7sus4(9,13) GIIC BCH Rw Fm? E7sus4(9,13) AMai7 Ebm7(b5,b6) F Faim7(11) a G#m7 Clima CMaj7 Drsus4(9) Cheb AD BCH AB Copyright © 1987, Scoway Music International Copyright Secured Made In U.S.A. All Rights Reserved Used by Permission 104<< Borsust(9,13) GHC BCE gz Ebm7(b5,b6) s 2 thes Cova Mai7 as Fm7—E7sus4(9.13) Fe i F Fem7(11) GHm7 Drsw9) 2 th [Bw upayng Epes cal cangew/Bass Gur playing ‘A pedal until change Bb7sus4(9,13) GHC Bice — |Frm? E7sus4(9,13) AMai7 p “ Ebe7(05,06) F Fim7ct) Gm? 2 ep D7sus4(9) 5 OD AID BIC AB BbTsus4(9,13) CHOC B/CH Fe Fm? E7sus(9,13) AMaj7 Ebm7(b5,06) Fam711) Gam? on ie 1079 (Funk Groove) U (ie Slo Bar? Ms. 108 a — |‘Am (Phrygian)Cont. Keybd. Solo until “Intro” (Gur, Vamp Freely until “intro” or 9 Punk Groove) 16 4 ‘Am (Phrygian) a br 4 4 e ro) FY G9 AbD AD Be BD oF fot Bb7sus4(9,13) (Ge Bice Fe : x d Fn? E7sus4(9,13) AMa)7 Fom70b5,06) FE ‘ : : 5 Fmt) om rman CMa) a 110Play [B] BP FH9 «G9 AbD AD. Boo BP Bbrsus9,13) Gwe BH Fe Fn? ETsui(9.13) A Mai loco ny Ebm7(b5.09) F F¥m7(11) Gem? awn yh Crmyat CMaj.7 DIsus4(9)——Lyaawaawanwanwanwacy Ff7(11) —— 0 Dt: Coma CMa. a Gem? np eo Le —. Fim? = Gat Bon7tst6) ——CMaj7 <—_# oT ~ Bar 139 — a mDrsust Pim? Gn? Bom7Q506) CMa, Disusd Fim? Gm? Bbm7(b5,b6) CMa.7 Disus4 Boa = = = a Fim? Gm? Bhan (05,66) loco _CMaj7 S| Disust ite? Gem? Disust M3) S B— Seer & Bipm7(b5,06) * 112Disust Bbm7(05.b6) Mai7 Disust Drums Ad Lib until end E Bp rs) Boo B9 113