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MB21458BCD
CD
I N C L U D
ED!CD
I N C L U D
ED!
CD
I N C L U D
ED!
MEL BAY PUBLICATIONS, INC. #4 INDUSTRIAL DRIVE PACIFIC, MO
63069
R
Mel Bay Presents
by
21458BCD-cover.indd 121458BCD-cover.indd 1 1/27/10 8:40:30
AM1/27/10 8:40:30 AM
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2010 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL
RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND
PRINTED IN U.S.A.
No part of this publication may be reproduced in whole or in
part, or stored in a retrieval system, or transmitted in any form
or by any means, electronic, mechanical, photocopy, recording, or
otherwise, without written permission of the publisher.
Visit us on the Web at www.melbay.com E-mail us at
[email protected]
1 2 3 4 5 6 7 8 9 0
123456789101112
1314151617181920212223
CD contentsLos AngelesHavanaBuenos AiresMonterreySan JuanRio de
JaneiroEl PasoValse EspanolaChihuahaCuba: Mambo CubanoAfrica: Afro
GrooveCarribean: Jamaican Beach Party
Carribean: Reggae Dance PartyCeltic: Star of the County
DownCuba: Cafe AmericanoIndian: Tea and SpicesJapan: Japanese
Garden SongMexico: La BambaMiddle East: Circle DancePeru: El Condor
PasaRussia: Gypsy Love SongSouth Africa: Festival AfricanaIndia:
Street Dance
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2IntroductionMusic has the power to reflect the spirit of a
place in a unique way.
I believe in the axioms that if you want to learn about history
- listen to the music of that time and place. Ifyou want to learn
about the cultures of places around the globe, listen to the music
from these places. Forthese reasons music educators have a unique
ability to enhance students understanding of history and
cultures,diversity, integration and ideally peace through
music.
As the world changes so does its music. This book is a
reflection of that process. The songs contained withinthese pages
may be considered derivatives. When you hear them they will sound
familiar because they havebeen derived from many of the best loved
songs from around the globe. And yet, they are all strikingly
origi-nal. In short they are classically crafted interpretations of
the global-pop genre. Originally the material present-ed here was
written for two books: Latin American Music Made Easy and World
Music Made Easy. Uponreflection it was apparent that combining the
two books would lead guitarists to Global Adventures forFingerstyle
Guitar.
I have crafted these arrangements to be playable by students in
my high school guitar classes. The clarity andsimplicity of the
notation may be compared to the works of Fernando Sor (1778-1839),
one if the great teach-ers of guitar in the early nineteenth
century. The musical elements may be compared to works and styles
ofCarlos Santana, Yanni, Sergio Mendes, Jose Feliciano, Mason
Williams, the Beatles, the Eagles, Klezmer,Flamenco-pop, Mariachi,
Celtic, Russian, Bollywood, Afro-Pop and others. The melodies are
all lyrical andthe creative writer is invited to add words to
them.
In addition to being guitar solos, the compositions in this book
are all groove based and are built upon asteady and danceable beat.
As such they work beautifully when accompanied by percussion or an
entireensemble. If you use a guitar strap when you play, dont be
surprised to find yourself dancing around thekitchen as you
play.
Im certain you will enjoy your global adventure!
Steve Eckels
Table of
ContentsIntroduction................................................................2Los
Angeles................................................................3Havana
......................................................................8Buenos
Aires
............................................................10Monterrey
................................................................13San
Juan
..................................................................16Rio
de Janeiro
..........................................................20El Paso
....................................................................23Valse
Espanola
........................................................26Chihuaha
..................................................................30Cuba:
Mambo Cubano ............................................32Africa:
Afro Groove
................................................36Carribean:
Jamaican Beach Party ............................38
Carribean: Reggae Dance Party
..............................40Celtic: Star of the County Down
............................42Cuba: Cafe Americano
............................................44Indian: Tea and
Spices ............................................46Japan:
Japanese Garden Song..................................48Mexico: La
Bamba ..................................................50Middle
East: Circle Dance ......................................52Peru: El
Condor Pasa ..............................................54Russia:
Gypsy Love Song........................................56South
Africa: Festival Africana ..............................58India:
Street Dance
..................................................60About the
Author ....................................................63
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3&
TAB
44q = 128
P - cresc
j
Am
122
122
0
122
0
122
0
j
122
122
0
122
0
122
0
j
122
122
0
122
0
122
0
Freely -
J .
22
0 1 5 3 0
0
&
TAB
..
..
A In Tempo%
Am
. J122
0
122
0
122
00
J .
22
0 20
3 1
0
1.
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00233
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00122
0 0 0 0
&
TAB
.....
j .
00
3 1 0
Amin E
1
21
00
0 5
00
Amin Dmin
55 5
68 7 5
00
&
TAB
..
..
. jj
j#E F/E E
. J J J7 0
0233
00233
00233
00122
0 0 0 0
22
0 10
3 0
2. . jj
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00122
0 0 0 0
Los AngelesTrack #1
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4&
TAB
.....
j^
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0 0 0
CV
^
CIII
jCI
Am G F
555775
555775
334553
112331
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00
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0
&
TAB
Am
. J
2
0
22
0
22
00
B
Am
22 0
3 2 00
G G/F
00
00
00 3
33
&
TAB
3
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03
5 56
35
13
2 0
C C6
. J 010
0
22
0
22
33 0 0
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. J
00
3
22
3
22
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&
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# E7
12
10
13 3
02
. j2
3
67
67
55
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0 0
gggggg b
Am Am/AMaj7
. J 00507
56
0
56
00 0 0
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5&
TAB
j #
Am7 Am6
55
55
0
54
0
54
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32
31
31 5
60
0
3
w
65 8 8 7 5
0
&
TAB
......b j
A F7
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112131
3 3
12
3
12
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121
3
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3
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021
021
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444
444
2 0
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20212
0 1 03
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002330
002330
E
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00122
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&
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C
P - cresc
No chord
0 020 0
30 0 0
20
Last x slower
020
00
30
20
00
30
20
#
0 0
120 0
230 0 0
120
-
6&
TAB
020
00
30
20
00
30
20
#
3 3
E F E
001220
001220
112331
112331
00120
To Coda (Last x rit.)
00 1 0
3 1 0
&
TAB
j
j#
jAm E Am
01220
01220
001220
001220
00120
D.C. al Coda Freely -
22
0 1 5 3 0
&
TAB
..
..
Coda3 times getting softer
b # Am A
w
21
04
45
4
0
&
TAB
..
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3
34
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0
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22
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0
rit.
# #ggggggg 7 8 11 12 5
5040
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7This page has been left blank to avoid awkward page turns.
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8&
TAB
44 ..
..
..
..
Intro
q =118
Am
02
0 1
3 1 0
1, 2, 3. ..#E7
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31
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2
1 10
0
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1
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# CMaj7 C(s5)
00
20 1
21 2
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31
23
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12
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w
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30
w
21 1
3
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# 010
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HavanaTrack #2
-
9&
TAB
j G7(13)
000 2
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j G7(13)
000 2
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333
333
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21
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harm opt.
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#
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00
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j# ...D7( 913 )
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w121211100
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44 ..
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..
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(ad lib 2ndx)
A m
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0
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w
7 5 3 5 7 70
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&
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..
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Am
w
75
00
05
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b Am/AMaj7
w
65
00
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To Coda
Am7
w
55
00
05
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&
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w
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A
Strum ad lib.
j
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w132
1 132
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j
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&
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j
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1 132
03
0
Am
. J 01220
2 2 20
j
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w132
1 132
03
0
Buenos AiresTrack #3
-
11
&
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0 0122
3 1
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w.
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1 0
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Repeat 4x
Am
22
0 03 3 1 0
1, 2, 3.
3 3
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30
3 30
1 0
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w121212
harm.
0
&
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C Am9
w5
05
00
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0
# Am(maj4)
w4
05
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232
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3 13
0
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12
&
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cresc.
# 3 3
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56
56
56
56
45
56
0 0
..# j#
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Repeat 4x
Amin
22
0 03 3 1 0
&
TAB
..
..
1, 2, 3.
3 3
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30
3 30
1 0
0 0
4.
D.S. al Coda with repeat
OOO
harm. 12
w121212
harm.
0
&
TAB
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rit.
Am6
.0504
20
0
&
TAB
Rubato
3 3
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1 1 1 102
0 123
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0
In Tempo Am Am(maj7)
b
50
05
00
7 6
&
TAB
Am7 Am6
#
50
05
00
5 4
Slower # FMaj7 E
21
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3 2
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Am
55
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-
13
&
TAB
44 ..
..
q = 124
Riff.
0 0 32 0 3 2
#
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0 03 2
0 0 32 0 3 2
&
TAB
..
..
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0 0 0 2 2 4
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0122
12
0 1 30
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0 0
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TAB
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122
20
1 20
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00
7 7 8 10
3
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0
.. j Am D min7
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86
86
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7 7 5 7
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3
00
0
.. j # Am F
.
85
55
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MonterreyTrack #4
-
14
&
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..
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B j
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0
21
0 12
55
44
00
034
34
0
0 0
j
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0
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55
44
00
&
TAB
..
..
..
..
C # E
44
55
55
77
0 0
(open solo for ending)
j jgggggg
Am Dm E
J
2 21
03
1 00122
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#
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34
1 0
0
&
TAB
..
..
1.
j j#gggggg
Am Dm E
J
2 21
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To Coda (Last x rit.)
# #*
J
2 2 2 4 41
* Last time repeat the first ending 4 times, then take Coda
2.
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03
1 001220
0
&
TAB
..
..
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0
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2 2 2 32 1
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-
15
&
TAB
..
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1.
# j j#
12
12
12
23
12
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0 0 0 0 0 0 0 0
#
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23
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TAB
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2. #
j
j
E F E
J J00122
00122
00122
11233
11233
00122
0 0 0 1 1 0
j#.....
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&
TAB
..
..
E3
>3
2
0 2
>
9
>10
010
9
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90
910
>3 2 0
2
3
>2
0 2
7
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010
78>
08
&
TAB
..
..
>3 2 0
2
>
5
>8
08
56>
06
D.C. al Coda
>3 2 0
2
3
rit. 2nd x
>2 0 2
4
>6
06
45> 0
5
&
TAB
Codawwwwwgggggg
Am
01220
-
16
&
TAB
# 44
Slowly and FreelyPrelude
3
Em
7 8 7 5 7 3
434
55
77
00
0 0 0 0
gggggggggggg
Am
77
55
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012200 0
j#gggggggggg
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55
55
2021
2021
3 5
0 2 2
&
TAB
# ggggggg
Em
3 5 3 2 3 0
0022
00022
00
0 0 0 0
# n # j n # 3 3
E7 E7sus E7
. J 4 5 4 3 4 1
21 1
01
034
02
0 0
&
TAB
# gggggggggg
Am
34
12
1 3 1 0 1220
12200 0
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,Em B7
# 300
0 12
12
00
02
202
012
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&
TAB
# p
harm. 12
baccel.
3 3 3 3
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24
00
70
00
05
00
12
7 6
b n rit.
b 3 3 3 3
40
03
00
20
01
00
4 3 2 1
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000220
ggggggggg
San JuanTrack #5
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17
&
TAB
# ..
..
..
..
Introduction
In Tempo q = 136%muted
Em
20
00
20
00
2
D7
02
21
0 0
212
0
1.
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30
01
3
001
3
B7
22
20
2 2
202
2
&
TAB
#2.
bgggggggggg
gggggggggg
3 3
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01323
01323
01323
01323
To Coda #ggggg ggggg
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20212
20212
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. 7
00
07
0 7
3 3
300
3 300
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0 0
&
TAB
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55
55
5
3 0
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55
55
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18
&
TAB
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34
12
12
0
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12
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20212
&
TAB
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2 3 3 2
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w121212
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05
05
00
3 3
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55
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3
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30
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31
20
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b Em
90
07
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b n rit.
b
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&
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..
Introq = 128
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213
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~~~~~~~~~~~~~~~~~~~~~~
&
TAB
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3
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-
21
&
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23
&
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# 44 ..
..
..
..
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J J
332
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332
321
3 3 3 3 3 2
&
TAB
#
2 43
4 2 02 0
%
A j# jEm A7 Em
J J
230
30
20
20
30
0 00 0
0
2 43
4 2 02 0
&
TAB
# j# j
Em A7 Em
J J
230
30
20
20
30
0 00 0
0
2 43
4 2 02
0
j j
Am7 D7
J J
231
31
21
21
31
0 00 0
0
&
TAB
#
2 43
4 2 02 0
j# j
Em A7 Em
J J
230
30
20
20
30
0 00 0
0
To Coda
2 43
4 2 02
0
El PasoTrack #7
-
24
&
TAB
# . j# B7
J
401
01
01
2 2 2
# 3 3
C B7
102
3 1 01
2 03 2
Emin
22
0 22 0
3
&
TAB
# ..
..
^
#(muted)
0 0 0 3 3 4
B #^ ...
j^A7
576
354
576
0 0 0 0 0 0 0 0
j#
^
576
354
354
354
0 0 0 0 0 0 0 0
&
TAB
# ..
..
1.
## ...j
^E7(13)
566
344
566
0 0 0 0 0 0 0 0
. j## ^
566
344
344
344
0 0 0 0 0 0 0
2.
jb j
j#C7(9) B7s9
J J J
332
332
332
332
333
3 3 3 3 2
&
TAB
# D.S. al Coda
2 43
4 2 02 0
&
TAB
# Coda . j# B7
J
401
01
01
2 2 2
# 3 3
C B7
102
3 1 01
2 03 2
-
25
&
TAB
# . j# B7
J
401
00
00
2 2 2
# 3 3
C B7
102
3 1 01
2 03 2
. j# B7
J
401
01
01
2 2 2
&
TAB
# (To Coda 2) # 3 3
C B7
102
3 1 01
2 03 2
J
22 2
0 22 0
30
j . J
00022
00022
0 0 0
&
TAB
# ..
..
..
..
jTL
(ad lib.) jTL
Em
.TR
JTR
JTR
TR
JTR
87
87
7 77 7
5
1, 2, 3.TL
TL
TL
TL
TR
JTR
JTR
# JTR
87
87
87
87
3 5 6 7
Last x D.S. al Coda
2 43
4 2 02 0
&
TAB
# Coda 2
22 4
34 2 0
2 0
bad lib. j .
U
2 02 1 0
3
wwwwwwgggggggEm
000220
TL = Tap Left - Hammer the notes with fingers 2 & 3 of the
left handTR = Tap Right - Hammer the notes using the index finger
of the right hand
Tapping...
-
26
&
TAB
b 43 ..
..
..
..
q = 136
A # A
.22
22
22
22
0
Bf/E
30
3
0
# A
.22
22
22
22
0
Bf/E
33 3 2 0
0
&
TAB
b ..
..
..#A
22
0 0 0 0
.6 5
0
B .. jA7
.35
68
56
0
.
35
68
56
0
.. 35
0 0 0 0
.56
35
0
&
TAB
b ..
..
.. jDm
.13
35
56
0
.56
35
13
0
..#A
02
0 0 0 0
1.
.6 5
0
2.
# .22
33
0
# A
.00
22
33
0
&
TAB
b .00
56
35
0
..Dm
.120
.. .Dm/C
123
..Bf
.
301
.
30
1
1/2 CI...#E7
.131
0
Valse EspanolaTrack #8
-
27
&
TAB
b ..
..
..
..
...#
1 3 131
0
e
% # A
.22
22
22
22
0
Bf/A
30
3
0
1. # A
.22
22
22
22
0
Bf/A
33 3 2 0
0
&
TAB
b2.
# .r e r
0222
0222
0222
0222
0
....# .e
02220
% ggggg2
D
Bfmaj7.
1323
1 1
1
ggggg
1323
3 5
1
ggggg A m7
.0102
0 0
0
&
TAB
b .0102
1 3
0
CIII
Gm
33
6 6
3
A7sus
.
.6 5 33
0
...
Dsus
580
..# .D
570
&
TAB
b Bf
33
3 3
1
..
#A7
3 1 02
0
Dm
12
1 1
0
..Dm/C
1 03
23
..# .nE/B
012
-
28
&
TAB
b ..
..
To Coda ..b .bBf7
011
..A
5
2
.. .
0
E
(three times)
#
A
5
0
5
06
0
&
TAB
b ..
..
#
5
0
5
06
0
Bf
.667
889
101010
0
101010
889
667
.
333
553
667
0
D.S. al Coda
667
555
355
6 5 3
&
TAB
b ..
..
..
..
Coda # A
.22
22
22
22
0
Bf/A
30
3
0
1, 2. # A
.22
22
22
22
0
Bf/E
33 3 2 0
0
&
TAB
b3.
# A
.556
556
556
556
0
rubato
Bf Am Gm
667
555
333
6 53
cadenza ad lib.
..U
p
G5
.
530
..UBf
.
301
..UA5
52
..A5
.
220
-
29
This page has been left blank to avoid awkward page turns.
-
30
&
TAB
# 44 ..
..
Introq = 108
G/D C/D
78
778
88
988
1010
0 0
D C/D
111010
88
988
78
0 0
j jG/D
Am
778
01 1
0340
0
&
TAB
# ..
..
..
..
1. D
54
03
04 0
2. .. D
.
5
A j jG C
J J
0 1 30 3 2
30 2 3
2 0
&
TAB
# ..
..
To Coda . j D C
. J
10
3
0 3 2
j jG C D
J J
0 1 30 3 2
3
30 2 3
2 0
1. .. j >.*
&
TAB
# ..
..
2. 230
30 2
* Tap guitar
B
j j
C
0
01
0 3 23
3 3
D
34
34
34
12
0 0
G Am
00
0 10
34
0 0
ChihuahaTrack #9
-
31
&
TAB
# D
54
03
04
5
G Am
3
00 1
5 3 23
30
j j j jD
01 3
412
00
0 0
j jG C/E
0
0 10 2
03 0
&
TAB
# ..
..
..j
D/F#
. J 320
320
2 2 2
C .. j j jG C
. J J J53
53
53
53
53
3 33 3
0
3D
w3 5 7 5 3
.. j j jG Am
. J J J53 3
030
30
34
3 30 0 5
&
TAB
# D
J
54
03
04 0
.. j j jG C
. J J J53
53
53
53
53
3 33 3
0
3
3D
w8 7 5 3 2
. j j jC D
. J J J0
10 3 2
3 0 32 0
&
TAB
# . j J
10
3
0 3 2
j jC
J J
01
0 7 5
3 0 35 4
D.C. al Coda wDw (with repeat) &
TAB
# CodawwwwwwggggggggG
300023
ggggggggg
-
32
&
TAB
44Freely
A
Am
w
22
0 1 02
20
Am#5
w
32
0 1 02
30
# B7/A
w
12
0 1 02
10
&
TAB
..
..
U
gggggg
Am/E E
.
22
0 12
0122
0 0
q = 116
%muted bass
#B j
Am6
554
554
0
554
0
554
0
#j
554
554
0
554
0
554
0
#j
554
554
0
554
0
554
0
&
TAB
Fine
.
0
C
Am Em/G
21
02 0
00
0
F E
32
30
3 1 0 3
0
&
TAB
...j
Am
122
012
122
0
122
00 0
j
122
122
0
122
0
122
0
Am Em/G
21
02 0
00
0
~~~
Cuba: Mambo CubanoTrack #10
-
33
&
TAB
poco rit.
# F E
32
30 1 5
645 6
7
0
a tempo
#
Am6
. J 554
0
554
0
554
00 0 0
#j
554
554
0
554
0
554
0
&
TAB
...#muted
j A
556
556
00 0
b w7 5 3 1 0 3
0
..j
Dm6
32
102
00 0
j
102
102
0
102
0
102
0
&
TAB
Am G
*
01
23 0
01
03
# F E
2
00
10
33
1 0
To Coda .. j Am
33
12
00 0
&
TAB
..
..
....ggggg Am
.01220
* last time repeat measures 21-24 and take the Coda.
DD.C. al Coda Last X
G
00
00
00 3
30
#3
03
1 1 04
20
21
-
34
&
TAB
# C o C6
4
04
02
3
23
3 3
j Cmaj7 C6
0 0
3
2
3
23
Bm7b5
. J
323 3
23 6
2 2
&
TAB
j# #. j
3E
w56
45
45
45
13
01
0
ggggg
Am
. J 0122
0
122
0
122
00 0 0
j
22
22
0
122
00
b F
5453 3
54
5
3
&
TAB
..#j
3E
44
44
44
55
77
0 0
.. j Am
77
55
00 0
3 3
ww8 8 8 8 7 55
0
&
TAB
...gggggj 3
Dm
ggg102
1 1 03
0020
.gggggj
3Bm7f5
3 3 30 1
232
232
#gggggggE
... J . # .001220
2 3 1
D.S. al CodaD.S. al Coda
20
&
TAB
Codawwwww#gggggg
Am
05040
ggggg
6/9
-
35
This page has been left blank to avoid awkward page turns.
-
36
&
TAB
# # 44 ..
..
4/6 CII
muted
A
q = 160
A
02
24
22
0
D
02
34
23
0
A
22
25
22
2
&
TAB
# # ..
..
..
..
1.
D
43
22
32
4
2. jD
57
35
0
B j j
A
35 5
3 02
02
57
0 0 0
&
TAB
# # ..
..
j jD
75 2
323
35
0 0 0
1. j j
A
5
3 02
02
5
0 0 0
J JD
23
5 57
35
0
&
TAB
# #2. j j j jA
35
02
02 3
0 0 0
4/6 CII means to the barre 4 strings at the second fret.
D.C. endings and 3 D
42
300
j j j jA
35
35
02
02 3
0 0 0
3.
j
107
99
0
Africa: Afro GrooveTrack #11
-
37
&
TAB
## ..
..
C
j
jA
99 5
656
107
0 0 0
j jD
710 2
323
35
0 0 0
1.
j jA
5
3 78
78
57
0 0 0
&
TAB
## ..
..
j j
D
77
5 107
99
0
2. To Coda j jA
35 5
3 02
02 3
0 0 0
>D
0 42
30 4
&
TAB
## ..
..
4/6 CII
muted
D
A
22
2
02
22
D
42
3
02
34
1.
A7
52
2
02
25
&
TAB
## ..
..
D
42
3
02
34
2.
A
22
2
02
22
D.C. al Coda
ggggD
232
0 0
&
TAB
## Coda ggggggg D
31077
0 0
-
38
&
TAB
# # # 44 .. ..
.. ..
..
..
4/6 CIIq = 152
A
4 times
A
02
24
22
2
% B
A
. 22
34
56
34
22
0 0
D
. 23
45
56
45
23
0 0
&
TAB
# # # E
. 45
57
79
57
44
0 0
.. j A E
56
01
00 0
A
. 22
34
56
34
22
0 0
&
TAB
# # # ..
..
n# # D
w23
45
57
45
23
0
3 3
E
w05
05
05
03
02
00
0
To Coda ....gggggjggggg
ggggg A
. J
0222
0222
0222
0 0 0
&
TAB
# # ..
..
..C j 3D
57
57
57
35
23
00
. J 570
0 2 2 0
.. j 3
57
57
57
35
23
00
Carribean: Jamaican Beach PartyTrack #12
-
39
&
TAB
# # ..A
. J 23
02
00 2 2 0
3 3
7 7 7 7 5 3000
00
0
3 3
7 0 2 3 2 0000
00
0
&
TAB
# # ..
..
# # #~~~~~~~~~~~~~
1. .. j D
02
23
00 0
J J
0 00 2 2 0
2.ggggg D
. J 2320
0 2 2 0
D.S. al Coda
gggggggg#
E7susE 7
002020
001020
&
TAB
# # # .. ..
.. ..
Coda 4 times
A
02
24
00
2
nggggg 3
Dm
... 1 1 1 1020
0
w
23
0 1 3 5 7
0
&
TAB
# # # wwA
. J 990
0 0 0
wwnDm/A. J
10100
0 0 0
wwwA. J
1210110
0 0 0
4/6 CII
ggggw2222
0
-
40
&
TAB
# # 44 ..
..
4/6 CIIq = 144
A . . D
02
3
22
3
00
2 0
0 3
2
3
0
. . A
02
22
20
2 0
&
TAB
# # ..
..
0 2
2
2
0
B D
w
5 75
5 75
0
Em
www3 3 3 2 000
0
&
TAB
# # ..
..
..
..
D
w0 2
23
0 2
0
A D
02 3
045
..C j D
57
23
0 0
&
TAB
# # ..
..
2 3A 7 D
*
35
57
78
57
00
D
0 2
23
0 2
0 0
To Coda A D
0
2 3
045
Carribean: Reggae Dance PartyTrack #13
-
41
&
TAB
## 3
* 2 optional measure
354
576
787
576
00
3 3
w
* optional measure
57
57
57
57
35
23
0
&
TAB
## D
D
2 23 23 2 23 0 0
A
2 02 02 2 02 0 0
D
2 23 23 2 23 0 0
&
TAB
## ..
..
..
..
A D
2 02 232 0 0
E D
.*
57
57
57
35
23
0
Em/D
.35
35
35
23
02
0
&
TAB
## ..
..
Dw23
23
23
03
0
D.C. al Coda 0
2 3
00
fi gggg 3 3
D
w232
2 2 2 03
0
rit.
D
02 3
00
45
DA A
-
42
&
TAB
# 43q = 120
This arrangement has been fingered to support ad lib picking
during a repeat.
3 2
A Em
...0 000
0
C
..
03
003
G.
300
3
3
D.
532
3 5
0
&
TAB
# Em
...7 5 300
0
C
.010
0
3
..Bm
.
342
.
34
3 2
2
C
00
00
3 2
Am
010
30
0
&
TAB
# 4G
...
3 300
3
D
.532
3 5
0
Em
...7 5 300
0
ggggg
Bm
...0
32
54
022
..Em
.54
0
&
TAB
# 02 4.
0 754
0
gggggG . ..
10 108010
2
10 788
9100
D
.532
5
0
Em
.700
3 5
0
Celtic: Star of the County DownTrack #14
-
43
&
TAB
# ...7 5 300
0
C
.010
0
3
..Bm
.
342
.
34
3 2
2
C
00
00
3 2
Am
.010
30
0
&
TAB
# gggg G
.300
3
3
gggg
D
.532
3 5
0
Em
.7
05
03
0
0
2 ...Bm
030
22
.ggggggg
.....
Em
54220
&
TAB
# ..
..
.ggggggg
.....054220
j2 2.Em
*
40
00
20
j .C
20
10
03
j .D
40
30
45
&
TAB
# ..
..
1, 2, 3...
5
* measures 34-37 may also be used as introduction.
4.
5 3 5
7 5 35 3 1
030
2 0
...gggggAadd9
..
00220
...ggggg ..
00220
-
44
&
TAB
44 ..
..
..
..
q =120
A
muted
Play 3 times
Am
. J
02
12
3 3
12
2 20 3 3
#E7
. J 031
23 2 0
3 2
b 3
Am F7
12
12
12 2
121
01 1
&
TAB
..
..
# ,E
10
0
0
% ..B j Am
55
012
0 0 3
Bm7b5 E7
2
30
3 1 0 3
20
.. j Am
( )
12 2
20 0
0
( )
&
TAB
b # 3
F7 E
21
21
21
10
0
1 0
.. j Am
55
012
0 00
To Coda
Bm7b5 E7
2
30
3 1 0 1
20
&
TAB
..
..
1.3 3 Am G
22
20
20 1
03
3 # F E
2
1 01
0
1 0
2.
Am
. J 22
0
22
0
22
00 0 0
Track #15 Cuba: Caf Americano
-
45
&
TAB
j
22
22
0
22
00
gggggC
3Dm6
. 564
564
564
564
00
3
w
65 7 8 7 5
0
&
TAB
#ggggg 3
.
Am6
0504
0504
0504
0504
00
#
45
00
0 0
ggggg 3... J
Dm6
5 5 5 5640
3
&
TAB
# 3
B7
12
0 1 02
2
rit.
# # E7 E7aug
. J 01
76
50
0 0
D.S. al Coda ww
U
0
&
TAB
..
..
..
..
Coda
muted optional
Am
02
12
3 3
12
2 2
Play 3 times #
rit. last time
E7
. J 031
24 2 0
3 2
#U
gggggAm69
w5504
0
-
46
&
TAB
44 ..
..
6 = D
75 6
Rubato
ad lib.
..ggggggggg
mA
Dm
www1010
89
67
000
ggggggg .wwww
5 6 55000
2 3gggggggg b www
89
67
55 7
8570
00
&
TAB
..
..
bggggg
- -
-
3 5 3 78
57
355
00
0
ggggb .www
2 3 2 0 2000
1.
Um
ggggg www
23 5 6
000
2.
wwwwm
2000
&
TAB
.. ..
.. ..
q = 108%gggggad lib.Tempo - 3 timesB
b>
5 7 7 7 5 7 800
00
00
00
00
sim.
*
2 75 6
700
..ad lib.
C Dm
. J 1010
89
67
0 0 0
gggggggg .w
. J 5 6 55
0 0 0 0
&
TAB
.. ..
.. ..
ggggggggg b
. J 89
67
55 7
857
0 0 0
* optional strum strings 6,5,3 during this section.
.b n b
. J w
3 5 3 78
57
35
00 0
5
To Coda 3 timesD
^ b>
5 7 7 7 5 7 800
00
00
00
Finegggg
5 7 7 7 5 700
00
00
India: Tea and SpicesTrack #16
-
47
&
TAB
..
..
.E
muted
C
3
10
0 2 010
3
10
0 2
.
3
10
0 2 010
3
10
0 2
.ggg
Dm
ww
032
2 3 032
032
2 300
&
TAB
..
..
..
..
.ggg ww
032
2 3 032
032
2 300
..F
Am
.
12
33
00
00
02
.. . 12
33
00
00
0 0
&
TAB
..
..
..
..
.. Dm
. 67
55
33
33
00
..
. 67
55
33
33
00
..G b
Am
.
00
12
33
33
02
.. b .
00
12
33
33
02
&
TAB
..
..
.. Dmin
. 56
35
13
13
00
D.S. al Coda.. .
56
35
13
13
00
&
TAB
Codaggggg
rit.
5 7 7 7 0 200
00
00
Cadenza ad lib.
b
U
U 03300
3200
0 0
~~~~~~~~
~~~~~~~~~
-
48
&
TAB
# 44 ..
..
q = 112
dolce-pont.
A Em
w7
87
85
75
7
0
w3
53
52
32
3
0
w3
53
52
32
3
0
&
TAB
# ..
..
..
..
w0
00
00
0
B 2 2 Em Bm
w 5 0 3
02 4
0
45
2
P
Em
w45
45
0
&
TAB
# ..
..
..
..
Am
ww
78
55
77
34
00
00
gggggg2 ggP
2
Em
w545
55
0
C Em Am
w30
030
021
021
0
0
&
TAB
# ..
..
n Emin Am
w00
000
021
021
0
0
Em Am
w30
000
021
03
0
To Coda Em
w ( )0
00
00
0 0( )
Japan: Japanese Garden SongTrack #17
-
49
&
TAB
..
..
..
..
gggggD
Am Gm/D
.p cresc. 012
1 323
023
00
Am Dm/A
. 122
2023
00
ggggg
Am Dm/A
. 0122
1 323
023
00
ggg Am
220
22
0 0
&
TAB
..
..
E Am Em
55
0 30
53 5
00
2
0 02
2 0 Am
w5
06
05
03
0
ggggg gg
Am Dm
w01220
1 323
01
0
&
TAB
..
..
..
..
ggg Am
220
220
.
F Am E7
. 85
85
76
00
^
. Am E7
. 55
55
76
00
Am E7
85
5 76
8
00
&
TAB
..
..
D.C. al Codagg ggAm
w555
555
0
&
TAB
harm. Coda
2
12 3
12 5
5 2
12 3
12
1212
5
1212
< >< >
< >< >
< >
6
5 12
5
121212
< >
< >< >< >
-
50
&
TAB
44 ..
..
..
..
q = 138
Play 4 times muted
A
C F
30
12 3
21
3
1, 2, 3.
G
00
20
00
4. G
w1 1 1 1 0
30
3
&
TAB
..
..
..
..
jB j j j
C F G
Play 4 times
1
0 20
12
00
31
1, 2, 3.
w1 1 1 1 0
301
3
4.
ww
00
3 3 3 3 30 2
&
TAB
..
..
C ..
jC F G
. J*
102
20 003
1 3
j ..
00
32
0 3 3 2 0
.. jC F G
. J010
10 30
3 1 3
&
TAB
..
..
# # ..
..
..
..
j ..
30
32
0 3 3 2 0
* see optional measure
%To Coda
Play 4 times
D
G
02
3
2 3
03
0
1, 2, 3.
j ..A
22 3
4
00
0 0
Mexico: La Bamba(Vera Cruz Folk Song)
Track #18
-
51
&
TAB
# # ..
..
..
..
4.
w
3 3 3 3 2 0 2
0
j j j j
Play 4 times
E
D G
32
00
00
220
3
1, 2, 3.
w
A
3 3 3 3 2 0 2
0
&
TAB
# # ..
..
22
0 0 0 0 0 2 4
F .. j0 1
D G A7
. J32
00 200
30
j
200 3
20 0
4 2
&
TAB
# # ..
..
..j0
1
D G A
. J23
30
02
0 3
0
D.S. al Codaj
02
0 42
0 04 2
&
TAB
# # Coda
j
02
2 34
00
0 0
&
TAB
# # ..
..
..
..
j
j4 j4
D G
J . J232
232
30
30
52
0 03
0
j j 4 4
A G A
52
52
30
52
30
wwwwgggggggD
10775
...j
* optional measure
102
1
20
00
343
* optional measure
-
52
&
TAB
44 .. ..
.. ..
..
..
mute
A
# j 4 times
E
01
01
3
01
2
01
0
gggno mute ad lib.
B
# E
ww
2 2 31 1 2
20
#ggggg # www
01
00
12
44
12
220
&
TAB
..
..
wwww#gggggg . J
01220
3 2 3
.j
03 3 2
gggggg
C
3F/E
w1233
gggggg0 1 0 1 0
2
0
ggggg
3
ww23
20
23
0 1 0
30
&
TAB
ww#gggggE
.. J
1220
3 3 2
.j
03 3 2
ggggggg #3F/E
w0233
1 02
02 1
0
# 3
ww23
1 2 1 2 13
30
&
TAB
..
..
ggggE
. J
22
E
03 3 2
#ggggggg
ggggggg j
01022
0002
0
020
..D j ..# jE
79
445
2
0 0 0 0
j# j3
Dm/E E
13
100 7
0 0 0 0
Middle East: Circle DanceStart slowly and gradually get
faster
Track #19
-
53
&
TAB
Bass sim.
j j Dm
w56
7 8 7 5
0
... j#.....
j
E
. J 754
00122
00022
4
0 0 0
... j ...j# j
w754 4
45
2
0
&
TAB
..
..
... j# Dm/E
132
0
100
jgggggg j wwww#
0 1 3 1 01220
1.ggg....gggggg
jAm
22
0122
gggggg 30 0
2. D.C. Am
22
22
0 0
&
TAB
E
>
>
02
02 3 2
0 0 0 0
>
>
022
022
33
33
22
0 0 0 0
#>
>
0
12
0
12
23
12
0 0
#>
>
0
012
0
012
123
123
012
0 0 0 0
&
TAB
~~~~~~~~~~~~~~#>
>
0
001
0
001
112
001
0 0 0 0
j#
354
454
565
565
354
0 0 0 0
.j#
rit.
w
79
810
78
0
U
#Dm6 E
2
01 0
0122
cadenza ad lib.
00
-
54
&
TAB
# 44q = 104
muted
A
Em
20
0
20
02
00
00
0
C
32
0
32
03
20
22
0
&
TAB
#
Am
02
0
02
00
20
3
Em
02
00 2
20
02
00 2
20
&
TAB
# ..
..
02
00 2
20
0
0
B # Em
0
40 2 3 2 3 5
0 0
. 4
0
0
7 12 10
50
00
00
0
&
TAB
# G
7 12 12 10
50
00
00
0
7 7 5 3
50
00
00
0
Em
w
7 5 30
0
00
0 20
0
0
Peru: El Condor Pasa(Andes Mountain Song)
Track #20
-
55
&
TAB
# ..
..
..
..
0
0
00
0 20
0
0
0
C
C
0
32
03
12
03
12
00 2
3
32
03
12
03
12
03 0
&
TAB
# ..
..
G
3
00
3
30
0
3
30
00
3
3
1. 0
00
3
00
0
3
0
3 3 3
2. 0
00
3
00
00
2 0
3 3 3
&
TAB
# Em Em/D
20
02
00
00
00
00
C C/B
30
1
30
1
0 20
1
0 20
1
&
TAB
# C C/B
30
1
30
1
0 20
1
0 20
1
ggggggg
Am C/B Em
00
1
0 20
1000220
ggggggggg
-
56
&
TAB
44q = 132
A
.
Intro
J Am
02
01
32
01
22
0 32
. J
02
01
32
01
22
0 32
. J Dm
03
1
33
12
0 32
. J
03
1
33
12
0 32
&
TAB
E
. J#
0
00
00
04
0
10
. J#
0
00
00
04
0
10
.....gggggg
j Am
01220
ggggggg 3 2 0 3 2
# .
04
0
0
&
TAB
B # E7
w1
01
0 00
10
0
# w
04
0
0
Dm/A Am
w1
12
0 01
21
0
w0 0 5
0
&
TAB
# E7
w5
34
4 43
43
0
w
0 7 8
0
Am
w7
55
5 55
55
0
w0 8 10
0
Russia: Gypsy Love Song(Dark Eyes)
Track #21
-
57
&
TAB
Dm
. 8
67
76
70
0
w
67 8
0
Am
. 7
55
55
50
0
# 0
40
0
&
TAB
# E7
w1
01
0 00
10
0
w
0 7 8
0
... j Am
w555
60
35
0
0
. jgggggg gggggg
201220
01220
&
TAB
..
..
..
..
# muted
E
. J
0
10
30
02
03
# . J
0
10
30
02
03
1, 2, 3.
#
Am6
(repeat only twice first through)0504
0504
0504
0004
0
#
0504
0504
0504
0504
0
&
TAB
4. ....gggggj #
Am
w0122
04
04
0
0
rit.
#
6 5 10 9
U U
13 1213 12
wwwww#ggggggg
55040
-
58
&
TAB
44 ..
..
43 44 43 44Slow
P
A
F
C
-
0103
1023
G7
12
00
30
03 2
010
102
3 3
G
00
10
30
30 2
&
TAB
44 43 ..
..
C
010
102
3 3
G7
12
00
30
03 2
...C
.0103
... .
&
TAB
..
..
..
..
In Tempo q = 160
B
muted
%
C
30
12
01
G
3
02
00
0
C
30
12
01
G
30
20
00
&
TAB
..
..
C C
.0
10
10
23
G
.1
00
03
0
3
C
.0
10
10
23
G
.0
01
03
0
3
South Africa: Festival AfricanaTrack #22
-
59
&
TAB
..
..
C
.0
10
10
23
.G
00
00
30
3
. .C
10
20
00
30
. .G G
10
0
30
0
1 3
&
TAB
..
..
.D
C
31
00
10
0
F 5 7 8
3 5 7
C
.3
10
01
03
G
.3
00
01
0
3
&
TAB
..
..
C
.3
10
01
03
F 5 7 8
3 5 7
C
. .3
10
00
03
0
D.S. al Fine
. .
10
0
30
0
1 3
&
TAB
44 43 44 43 44E
C
010
102
3 3
Slow
G7
12
00
30
03 2
C
010
102
3 3
G
00
10
30
30 2
&
TAB
44 43 C
010
102
3 3
G
23
02
00
2
00
32
87
..C
89
Fine...ggg .102
gggg 3
-
60
&
TAB
44 .. ..
.. ..
q = 116
#7 timesmutedA
> n >. .
With each D.S. play the First ending: 1-2,1-3,1-4,1-2
6 797 7 7 6 7 7 7 7
0 0 0 0 0 0 0 0
# j###.
6 7 7 7 7 7
00344
ggggggg0 0 0 0 0
~~~~~~&
TAB
..
..
~~~~~~~~~~
~~~~~~~~~~16th note feel
% .....##
B(riff)
>strum ad lib.
. > ###
F#
03442
B
01344
ggggggg
......#
> . > #.
2
00122
ggggggg2
&
TAB
..
..
~~~~~~~~~
...... >
. >
E
000220
00022
ggggggg
1. ......# >
. ###.
0
00344
ggggggg0~~~~~~
&
TAB
..
..
2. ......
,
001272
1220
0
..#C j
F#/E E
34
01
01
01
0 0 0 0 0 0 0 0
..# j# #F#/E E
34
01
01
44
0 0 0 0 0 0 0 0
India: Street Dance
. . . .
. . ..
.
Track #23
-
61
&
TAB
..
..
To Coda ..# j #
F#/E E
23
01
01
44
0 0 0 0 0 0 0 0
Btowith 3rd ending..# j
F#/E E
23
01
01
01
0 0 0 0 0 0 0 0
3. ......#
E
001220
0220
7
E
&
TAB
..
..
..# j# F#/E E
D
67
79
79
79
0 0 0 0 0 0 0 0
..# j# #F#/E E
67
79
79
11
0 0 0 0 0 0 0 0
..## j# F#/E E
911
79
79
11
0 0 0 0 0 0 0 0
&
TAB
..
..
86 ..
..
Btowith 4th ending..## j#
F#/E E
911
79
79
79
0 0 0 0 0 0 0 0
4. ......#
001220
0220
E
Slow - getting faster
4
# F#
3
&
TAB
# F#
43
00
03
4 3
# E
74
00
04
#
74
00
04
3
#4
# F#
86
00
06
.
.
-
62
&
TAB
..
..
..
..
# # Fs
86
00
06
3
4
# 0
0
B
98
00
08
Slowing
4 3
# 0
0
B
98
00
08
Play 3 timesF
Slower - getting faster
C#m
9
90
00
9
&
TAB
..
..
.. ..
.. ..
#
B
7
80
00
8
# #
A#m
6
60
00
6
# U
G#m last x
4
40
00
4
Much
nrit.
* (3 times)
G
3
00
00
0
&
TAB
e = e cadenza ad lib.
2 3 2 2 3
4to with CodaB
B
#muted
# # > 0
Slower 0 0 0
U..>
U j####Gmaj7s11
2 3 5 3 2 03
63
03
60
70
0 2 0 220
01344
~~~~~~~~~~~~~
&
TAB
44 Coda
>
Slower
# > >U
>#
####gggggUad lib.
3
Fs
23
0 0 03442
ggggggg
&
TAB
44 .. ..
.. ..
In tempoad lib.
B
B
#7 times
A
B
C
D
E F
G
B
B
.
6 7 7 7 7 6 7 6 7 120 0 0 0 0 0 0 0
Slowing
# # > > >U
6 4 4 6 4 2 2 2
##
U U
U
003440
003440
003440
~~~~~~
This is the Groove
Keep returning to between variations: repeat as many times as
you wish with strumming flourishes.
Variation #1 then return to
Variation #2 then return to
Bridge sections
Transition
Recap
Coda
FormOverview:
-
63
About the AuthorGuitarist, Steven Zdenek Eckels, is perhaps the
most significant representative of American folkloric national-ism
of the late twentieth and early twenty first century. For his
unsurpassed contribution to the body of pub-lished guitar
literature, he is known as The Lion of Fingerstyle Guitar. The
arrangements that form the coreof his concert repertoire include
American classics in genres such as Gospel, Blues, Stephen
Foster,Appalachian Ballads, Cowboy Songs, and Native American
Music.
Eckels has spent the majority of his career, creating concert
arrangements of American traditional music forMel Bay Publications
and developing classroom-teaching techniques for guitar in the
public schools. WhenMel Bay Publications needed an author for its'
new series A Modern Method for Fingerstyle Guitar Eckelswas chosen.
Eckels was also asked by the Music Educators National Conference to
write a classroom guitar-teaching manual which was published in
2009. This landmark publication is the first classroom-teaching
man-ual written by an educator who is also a virtuoso guitarist. It
will influence the future of music education bymaking classroom
guitar pedagogy available for the core curriculum for music
educators.
Of the more than twenty books he has written for Mel Bay
Publications, several of them are historic firstsincluding Cowboy
Classics, Gregorian Chant for Fingerstyle Guitar, Native American
Music for FingerstyleGuitar and a folio and recording of the music
of Stephen Foster. His contributions to American guitar
literaturehave earned him the nickname of The Fernando Sor of
Americana.
During his formative years, Eckels lived in the foothills of the
Appalachian Mountains in Virginia where hewas listened to Afro
American rhythm and blues, folk, bluegrass, and Southern Gospel
music. After highschool, he received his formal training in Boston
Massachusetts at Berklee College of Music and NewEngland
Conservatory, where he graduated with a Masters Degree in guitar.
Later, he was to receive musiceducation certification, and for the
past ten years, he has been the high school guitar instructor for
theKalispell public schools in Montana. He recently received his
National Teaching Certification by the NationalBoard of
Professional Teaching Standards.
