How To Play

Blues Guitar
Lesson One
taught by
taught by
Stefan
Grossman
 EXPLANATION OF THE TAB SYSTEM
“…Learning from listening is unquestionably the best way, the Generally for fingerpicking styles you will be playing the thumb,
only way that suits this kind of music. You are setting the notes index and middle fingers of your picking hand. To indicate the
down for a record of what happened, a record that can be studied, picking finger in tab the stems go up and line up down from the
preserved and so on, a necessary and useful companion to the numbers.
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 A. A stem down means that your thumb strikes the note.
across each page reading : ‘Listen to the record if you want to learn B. If a stem is up, your index or middle finger strikes the note.
the song.’” The choice of finger is left up to you, as your fingers will
Hally Wood (taken from the Publisher’s Foreword dictate what is most comfortable, especially when playing
to the New Lost City Ramblers Songbook.) a song up to tempo!
C. The diagram below shows an open sixth string played with
Copyright © 1965 Oak Publications
All rights reserved. Used by permission.
the thumb followed by the second fret of the third string
played with the index or middle finger:

1
2
These words are most suitable for introducing the tablature 3 2
4
system, for tablature is just a guide and should be used in 5
conjunction with the recordings. Tablature is not like music 6 0
notation, however the combination of tab and music in an
arrangement forms a complete language. Used together with the In most cases the thumb will play an alternating bass
original recordings they give a total picture of the music. pattern, usually on the bass strings. The index and middle
The tab system does not attempt to show rhythms or accents. fingers play melodic notes on the first, second and third strings.
These can be found on the music or heard in the recordings. Music Please remember, this is not a rule; there are many exceptions.
notation tackles these articulations to a degree, but the overall In fingerpicking there are two “picking” styles: Regular
sensations, the feel and the soul of music cannot be wholly picking and “pinching” two notes together. A pinch is shown
captured on the written page. In the words of the great Sufi Hazrat in the tab by a line connecting two notes. A variation of this can
Inayat Khan: “…The traditional ancient songs of India composed also be two treble notes pinched with a bass note. Follow the
by great Masters have been handed down from father to son. The examples below from left to right:
way music is taught is different from the Western way. It is not
1) 2) 3) 4) 5) 6)
always written, but is taught by imitation. The teacher sings and
the pupil imitates and the intricacies and subtleties are learned by 1 1
imitation.” 2 3 1
3 3
This is the theme I’ve tried to interpolate into the tablature. 4
5
3 3
Tablature is the roadmap and you are the driver. Now to the tab: 6 0 1 1
Each space indicates a string. The top space represents the first
string, second space the second string, etc. A zero means an open 1) The open sixth string is played with the thumb.
string, a number in the space indicates the fretted position, for 2) The first fret of the sixth string is pinched together with the
instance a 1 in a space indicates the first fret of that string. third fret on the third string. The sixth string is played with
the thumb, the third string with the index finger.
1
3) The thumb strikes the third fret of the fourth string.
2 4) The first fret/sixth string is played with the thumb; it’s
3
4 pinched with two notes in the treble. The index and middle
5
6 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
In the diagram below the zero is on the second string and string.
indicates the open second string is played. The 1 is placed on the 6) Lastly, the bass note is played with the thumb on the third
third string and signifies the first fret of the third string. Likewise, fret/fourth string.
the 4 is in the fourth space and indicates the fourth fret of the
fourth string. There are certain places in blues and contemporary guitar that
call for the use of either strumming techniques or accented bass
1 notes. The tab illustrates these as follows:
2 0
3 1 1) 2) 3) 4) 5)
4 4
5
6
E
1 0 0 0
2
3
4
0
1 y 0
1
2 i
0
1 t
5 2 2
6 0 0

2
 1) The thumb hits the open sixth string and the second fret on 3) HARMONICS: Symbolized by a dot (•). To play a harmonic:
the fifth string should also sound. For example, play an E gently lay your finger directly above the indicated fret (don’t
chord. Now strike the open string and vary the force of your press down!) The two notes in the example are both
attack. Try hitting it hard enough so that the fifth string harmonics. The first on the twelfth fret/third string is
vibrates as well. This technique is very important for played with the index/middle finger, while the second
developing a full sound and the right alternating bass note—twelfth fret/fourth string—is played with the thumb.
sound.
4) SLIDE: Shown with a dash (–). Play the second fret/sixth
2) Next the arrow notation indicates a brush and the arrow string and then slide up to the fourth fret of the sixth string.
head indicates the direction of the brush. This is a continuous movement: the string is struck once
with your thumb.
A. If the arrowhead is pointed down, the hand brushes up
towards the sixth string. 5) PULL-OFF: “P” designates a “pull-off.” Fret both the sev-
B. If pointed up, the hand brushes down towards the first enth and ninth frets on the second string. Play the ninth fret
string. with your index/middle finger and then quickly remove it
C. The number of strings to be played by the brush is in the same stroke, leaving the seventh fret/second string.
shown by the length of the arrows. For example, this Pull-offs are generally in a downward direction.
arrow shows a brush up toward the sixth string, but
indicates to strike only the first, second and third strings. 6) In certain cases other specific symbols are added to the tab,
D. The brush can be done with your whole hand, for instance:
index finger or middle and ring finger. Let comfort plus A. For ARTIFICIAL HARMONICS an “X” is placed after the
a full and “right” sound guide your choice. fretted position.
B. For SNAPPING a note an indication may be given with
3) The third set of notes again shows the sixth string/open a symbol or the written word.
bass note played with the thumb and being struck hard
enough to make the fifth string/second fretted position Many times these special techniques are combined, for in-
sound. stance putting a pull-off and a hammer-on together. Coordination
of your fretting and picking hands will be complex initially, but the
4) Once more an arrow pointed downward indicates a brush end results are exciting and fun to play.
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, indicat- PICKING HAND POSITION FOR FINGERPICKING STYLES:
ing a brush downward striking the first, second, and third The Classical and Flamenco schools have strict right-hand rules,
strings. 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
Here are several special effects that are also symbolized in
fingerpickers I found one hand position similarity—they all tend to
tablature:
rest their little finger and/or ring finger on the face of the guitar.
1) 2) 3) 4) 5) This seems to help their balance for accenting notes and control
of the guitar. Experiment with this position: it may feel uncomfort-
1 7 able at first. I ask my students to perfect this position and then
2 8 W 9 P7
3 12 • compare the sound to when their finger(s) were not placed on the
4 12 • face of the guitar. They usually find the sound is greatly improved
5 2 3H
6 2 –4 when some contact is kept with the guitar face.

1) HAMMER-ON: Designated by an “H” which is placed after

MUSIC NOTATION: We have somewhat adapted the music
the stem on the fret to be hammered. In the example
notation in that this also shows whether the note is picked with
above, fret the second fret/fifth string and pick it with your
your thumb or index/middle fingers. The stems of the music notes
thumb. Then “hammer-on” (hit hard) the third fret/fifth
correspond to the direction of the tab stems. I hope this will make
string, i.e. fret the third fret/fifth string. This is an all-in-one,
the music notation clearer to fingerpicking guitarists.
continuous motion which will produce two notes rapidly
with one picking finger strike.

I hope you will feel at home and comfortable with the tablature
2) WHAM: Designated by a “W.” In the example the eighth
and musical notations. Remember, these are only road maps
fret/second string is “whammed” and played with the
indicating where and how you should place your fingers. The
seventh fret/first string. Both notes are played together
playing and musical interpretation is up to you.
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.

3
 RAILROAD BILL
Cj j j j
œ . œ œ j w œ œ œ œ j
4
& 4 œ œ ‰ œ w
œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ

3 3 3 3 3 1 0
Ô 2
1
2
1
2 2 2 2
1
2 2
3 3 3 3
3 3 3 3

E E‡ F
Ó ‰ j ˙ ˙ ˙ ‰ j ˙ ‰ œ.
& œ œ œ #œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

0
Ô 2
0
2
1H
2
3
2
1
3
0
3
2H
1
3
3
3
0 0 0 0 1 1 1 1

C G C
˙ ‰ j j œ. ‰ j
& ˙ œ œ œ œ ˙ œ œ œ w
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ

0
Ô 2
1
2
0
0
0 3
0
1
2
0
2
1
2 2
3 3 3
3 3 3 3 3

C j j j j
œ. œ œ j w œ œ œ œ j
& œ œ ‰ œ w
œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ

3 3 3 3 3 1 0
Ô 2
1
2
1
2 2 2 0
1
2 2
3 3 3 3
3 3 3 3

4
 E E‡ F
‰ œ # œj ˙ j ‰ œ.
& Ó ˙ ˙ œ ‰
œ #œ œ œ œ œ œ œ œ ˙ œ œ
œ œ œ œ œ œ œ œ

0
Ô 0 1H 2H
0
2
1H
2
3
2
1
3
0
3
2H
1
3
3
3
0 0 0 0 1 1 1 1

C G‡ C
˙ j j j
˙ ‰ œ œ œ œ. œ ˙ ‰ œ w
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ

0
Ô 2
1
2
0
3
0
0
3
1
2
0
2
1
2 2
3 3 3
3 3 3 3 3

C G‡ C
j j
˙ ˙˙ ww ‰ œ œ œ œ. w
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ

3 3 3 3 3 1 0
Ô 2
1
2
1
2 2 2 0 2 2
3 3 3 3
3 3 3 3

E E‡ F
‰ œ # œj ˙ j ‰ œ.
& Ó #œ ˙ ˙ ‰
œ œ œ œ œ œ œ œ ˙ œ œ
œ œ œ œ œ œ œ œ

0
Ô 1 2H
0
2
1H
2
3
2
1
3
0
3
2H
1
3
3
3
0 0 0 0 1 1 1 1

5
 C G C
˙ j j
& œ ˙ ‰ œ œ œ œ. ˙ ‰ .
œ œ ˙ ggg ˙˙˙
œ œ œ œ œ œ ˙ ggg ˙˙˙
œ œ œ œ g
0 ggg 0
Ô 2
1
2
0
0
0 3
0
1
2
0
2
1 ggg 10
ggg 2
3
3 3 3
3
3
3 ggg 33

Railroad Bill, Railroad Bill Railroad Bill, he ain't so bad

He never worked, and he never will, Whupped his mama, shot his old dad.
And it's ride, ride, ride. And it's ride, ride, ride.

Railroad Bill's a mighty mean man Early one morning, standing in the rain
Shot the light out of the poor brakeman's hand Round the bend come a long freight train.
And it's ride, ride, ride. And it's ride, ride, ride.

Railroad Bill, up on a hill Railroad Bill a-comin' home soon

Lightin' a seegar with a ten-dollar bill. Killed McMillan by the light of the moon.
And it's ride, ride, ride. And it's ride, ride, ride.

Railroad Bill took my wife, McMillan had a special train

If I didn't like it, gonna take my life. When they got there they was prayin'
And it's ride, ride, ride. And it's ride, ride, ride.

Goin' on a mountain, goin' out west Kill me a chicken, send me the wing
Thirty-eight special stickin' out of my vest. They think I'm workin', Lord, I ain't doin' a thing.
And it's ride, ride, ride. And it's ride, ride, ride.

Buy me a pistol just as long as my arm Kill me a chicken, send me the head,
Shoot everybody ever done me harm. Think I'm workin', Lord, I'm layin' in bed.
And it's ride, ride, ride. And it's ride, ride, ride.

Got a thirty-special in a forty-five frame, Gonna drink my whiskey, drink it in the wind
I can't miss 'cause I got dead aim. The doctor said it'd kill me but he didn't say when.
And it's ride, ride, ride. And it's ride, ride, ride.

6
 (from an article about the origins of Railroad Bill)
Railroad Bill was a villain-hero of note in the South at some Professor E. C. Perrow publishes several versions of this song
time, if any faith is to be put in the veracity of folksongs - a in his article, “Songs and Rhymes from the South,” in the
person who seems to have cut a wide swath in life as he Journal of American Folklore (volume xxv). Some hint of the
does in song. He is, infact, like a big, wild engine himself, time when this song may have originated is found in the sec-
when, fired by “ole corn whiskey,” he starts forth, to ride down ond stanza of one that he gives -
any person or thing that interposes obstruction in his path.
There is a movie rapidity of action and visibility of scene and Railroad Bill cut a mighty big dash,
characters about the stanza, for we fairly see Railroad Bill Killed McMillan like a lightnin’ flash,
shooting the lights out of the brakesman’s hand, and we see
An’ he’ll lay yo’ po’ body daown.
the policemen coming down the sidewalk two by two, “dressed
in blue.” We can guess at the emotional reactions of the
brakesman, or of “ ole Culpepper” minor figures, of no inter- Railroad Bill ride on de train,
est in themselves, memorable in verse only because they en- Tryin’ to ack big, like Cuba an’ Spain,
countered Railroad Bill. He it is who is the daring figure. What An’ he’ll lay yo’ po’ body daown.
matter if the law did clutch him later on, and penalize him?
‘He had had his glorious hour of corn whiskey and publicity. Get up, ole woman, you sleepin’ too late,
There are various versions of Railroad Bill, the best that I Ef Railroad Bill come knockin’ at yo’ gate,
have found being given by, Professor Odum, in the Journal He’ll lay yo’ po’ body daown.
of American Folklore.
Talk about yo’ bill, yo’ ten-dollar bill,
Railroad Bill mighty bad man,
But you never seen a Bill like Railroad Bill,
Shoot dem lights out o’ de brakeman’s hand
An’ he’ll lay yo’ po’ body daown.
It’s lookin’ fer Railroad Bill.
The following is a version current among Mississippi
Railroad Bill mighty bad man, Blacks, Professor Perrow, says:
Shoot the lamps all off the stan’
An’ it’s lookin’ fer Railroad Bill. Railroad Bill said before he died
He’d fit all the trains so the rounders could ride
First on table, next on wall, Oh, ain’t he bad, oh, the railroad man I
Ole corn whiskey cause of it all
It’s lookin’ fer Railroad Bill. Railroad Bill cut a mighty big dash,
He killed Bill Johnson like a lightning flash -
Ole McMillan had a special train, Oh, ain’t he bad, oh, the railroad man!
When he got there wus a shower of rain
Wus lookin’ fer Railroad Bill. The name of the victim seems to vary, being in some sections
McMillan and in others Bill Johnson, but he was indisputably
Eveybody tole him he better turn back, dead when Railroad Bill got through with him. Whatever he
Railroad Bill wus goin’ down track was called, he did not answer!
An’ it’s lookin’ fer Railroad Bill.
Railroad Bill was certainly a good workman, for not only did
Well, the policemen all dressed in blue, he shoot out the lantern from a brakesman’s hand and shoot
Comin’ down sidewalk two by two, the lights out of Ole McMillan, or Johnson, - or both, - but he
could hit a much smaller target as well; at least, the Missis-
Wus lookin’ fer Railroad Bill.
sippi Negroes so report, as Lemuel Hall tells me.

Railroad Bill had no wife,

Railroad Bill got so fine
Always lookin’ fer somebody’s life
He shot a hole in a silver dime.
An’ it’s lookin’ fer Railroad Bill.
Railroad Bill, Railroad Bill, Railroad Bill got sore eyes,
An’ won’t eat nothin’ but apple pies.
Railroad Bill was the worst ole coon,
Killed McMillan by the light o’ the moon
It’s lookin’ fer Railroad Bill.

Ole Culpepper went up on Number Five,

Goin’ bring him back, dead or alive,
Wus lookin~ fer Railroad Bill.

Standin’ on a corner, didn’t mean no harm,

Policeman grab me by the arm -
Wus lookin’ fer Railroad Bill.

7
 CARELESS LOVE
C G C
˙ j j
& 44 œ œ
‰ œ.
œ œ œœ œ œ. ˙
œ
‰
œ œ œ w
œ œ œ œ œ œ œ œ œ
œ

0
Ô 2
1
2
0
0
0
0 3
0
1
2
0
2
1
2 2
3 3 3
3 3 3 3 3

j j G
j
G‡
j œ œ j œ œ.
&
˙ ‰ œ œ œ ˙ ‰ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ

0 0 3 3 5 3 1 0
Ô 2 2
1
2
0
0
3
0
0
0
3 3
0
3
0
3 3 0
3 3 3 3 3

C D j j F
j œ. œ œ œ.
&
˙ ‰ œ œ ˙ ‰ œ. w œ
œ œ
œ
œ œ œ
œ
œ œ #œ œ
œ œ
œ œ

0 0 3 3 5 5
Ô 2 2
1
2 2 4
3
4
1
3 3
3 3 5
3 3 5 1 1

C G C
˙˙ j j j
& œ
‰ œ.
œ œ œ. œ œ. ˙
œ
‰
œ œ œ w
œ œ œ œ œ œ œ œ œ œ œ
œ

0
Ô 1
2
1
2
0
0
0
0 3
0
1
2
0
2
1
2 2
3 3 3
3 3 3 3 3

8
 C G C
˙˙ j j j j
& ‰ œ. œ œ œ œ œ. ˙ ‰
œ œ œ w
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

0
Ô 1
2
1
2
0
0
0
0 3
0
1
2
0
2
1
2 2
3 3 3
3 3 3 3 3

j j G‡
j
j œ
&
˙˙ ‰ œ œ œ œ œj œ . ˙ ‰ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ

0 0 3 3 5 3 0 1H 1 0 1H
Ô 1
2 2
1
2
0
0
3
0 0
3
0
3
0
3 3 0
3 3 3 3 3

C D j j F
œ.
‰ œ œj ˙
˙˙ ‰ œ. œ œ œ. ‰ œ.
& ˙
œ œ œ œ œ œ œ #œ œ
œ œ œ
œ œ œ œ

0 0 3 3 5 5
Ô 1
2 2
1
2 2 4
3
4
1
3
2
3
3 3 5
3 3 5 1 1

C
˙˙ ‰ œ. j j j ‰ j‰ ggg ˙˙˙
& œ œ œ œ œ œ. œ ˙ œ j œ
œ œ œ
œ
œ œ œ œ
œ œ œ g˙
œ ggg ˙˙

0 ggg 0
Ô 1
2
1
2
0
0
3
0
0
3
1
2
0 ggg 10
ggg 2
3
3 3 3
3
3
0 2 3
3 ggg 33

9
Oh love, oh love, oh careless love,
Oh love, oh love, oh careless love.
Oh love, oh love, oh careless love,
Now now don't you see what your careless love has done.

Well you worried my mother till she died

And you caused my father to lose his mind.
Now damn you I'm goin' to shoot you, Lord, I'm gonna shoot you both right down,
I'm gonna spare no one of you child till you spin next dyin'.

Oh love, oh love, oh careless love.

Oh love, oh love, oh careless love.
Oh love, oh love, oh careless love
Oh Lord, don't you see what, what your careless love has done.
Oh yeah.

Careless love now don't know see how you follow me down,
Careless love, don't you see how you follow me down.
Well, you robbed me out of my silver, Lord, and out of my gold
Ever since you been a-ridin' by side.

Oh love, oh love, oh careless,

Oh love, yes oh love, oh careless love.
Oh love, I said love, oh careless love now
Don't you see what your careless love has done, yeah.

10
 I’M SATISFIED
C F j j C
j
œ œ œ œ.
& 44 œ œ 46 ˙
‰ œ 44 ˙ ‰ œ. œ œ.
œ
œ
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0 0
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1
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3 1
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3 3 3 3
1 1 1 3

G j j j j
C
j j
& #œ œ œ œ ˙ ‰ # œj œ œ ˙ ‰ œ œ œ œ œ œ. œ œ œ 46
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 1 3 0 0
Ô 3
0
0
0
0
3
0
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0
0 0 0
1
2
1 3
2
3
3 3 3 3 3 3 3

F C G
j j j j j
‰ œ œ œ œ j4 w j
& 46 ˙ œ œ œ œ 4 œ œ œ
‰ œ œ œ œ.
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0
Ô 1
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1
2 2
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3 3 3
1 1 1 3 3 3

C
j j j jœ
& ‰ # œ œœ œ ˙ ‰ œ œ œ
œ œ ˙ ‰
œ œ œ œ . œ œ 46
œ œ œ œ œ œ
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0 1H 0 0
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0
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2
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1
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2
3 3
3 3 3 3 3 3

11
 F C
j j j j
‰ œ œ œ œ j 4
& 46 ˙ ‰ œ œ œ œ.
œ œ œ œ 4 wœ œ œ œ œ œ œ
œ œ œ œ

0
Ô 1
3
3
3
3
3
0
1
2 2
1
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3 1
2
3 3 3
1 1 1 3

G j j j
C
j
jœ j ‰ # œj œ œ ˙ ‰ œ œ œ œ œ œ. œ œ œ
& # œ œ ˙ 46
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 1 3 0 0
Ô 3
0
0
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3
0
0
0
0 0 0
1
2
1 3
2
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3 3 3 3 3 3 3

F C G
j j j j
‰ œ œ œ œ j 4 ˙ j
& 46 ˙ œ œ œ œ 4 œ œ ˙ œ
‰ œ œ œ œ. # œ œ œ œj ˙ œ
œ œ œ œ œ œ œ
œ œ œ

0
Ô 1
3
3
3
3
3
0
1
2
0
2
1
2
3 1
2
3
0
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3 3 3
1 1 1 3 3 3

C
j
j ‰ œ œ œ œ ‰ jœ ggg ˙˙˙
& ‰ # œ œœ œ ˙ œ ˙
œ œ œ œ œ œ œ ˙œ œ gg ˙˙
œ œ œ œ œ œ gg ˙

0 1H 0 ggg 0
Ô 0 0 3 1 1 ggg 10
3
0
0
0 0 0 2
0 2H P 0
0 ggg 2
3 3 3 3
3
3
3
3
ggg 33

12
 I'm I satisfied, tickled too, old enough to marry you
I'm satisfied it's gonna bring you back
I'm satisfied, tickled too, old enough to marry you
I'm satisfied it's gonna bring you back

First in the country, then in the town,

I'm a total on shaker from my navel on down
I'm satisfied it's gonna bring you back
I'm satisfied, tickled too, old enough to marry you
I'm satisfied it's gonna bring you back

I pull my dress to my knees, I give my total all to who I please

I'm satisfied it's gonna bring you back
I'm satisfied, tickled too, old enough to marry you
I'm satisfied it's gonna bring you back

I'm satisfied, tickled too, old enough to marry you

I'm satisfied it's gonna bring you back
I'm satisfied, tickled too, old enough to marry you
I'm satisfied it's gonna bring you back

Mississippi John Hurt

13
YOU GOT THE POCKETBOOK, I GOT THE KEY
C F C
j j
4 .. œ . j jœ œ œ œ œ œ œ œ. j j
œ œœ œ œ w
& 4 œ œ œœ œ œ œ œ
œ œ œ œ œ œ œ œ œ

3 3 0 0
Ô ..
2
0
2
1
2
3 P1
2
2
1
3
2
3
3 1
2
3 3 3 3 1 1 0 1 3

G
œ. j jœ j œ œ œ œ j jœ j
& œ œ œœ œ œ œ. œ œœ œ wœ
œ œ œ œ œ œ
œ œ œ œ œ œ

3 3 0 3
Ô 2
0
2
1
2
3 P1
2
2
0
0
0
0
0
0 0
2
3 3 3 3 3 3 3

C F C
œ. j jœ j j j j
& œ œ œœ œ œ œ œ œ œ œ. œ œœ œ œ w
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ

3 3 0 0
Ô 2
0
2
1
2
3 P1
2
2
1
3
2
3
3 1
2 2
3 3 3 3 1 1 3 0 1H

F C G C 1. 2.
j j j j j˙ j j ggg ˙˙
& œœ . œ œœ œ œ œ œ œ œ. œ œœ œ
j
œ wœ ..
œ œ œ œ ggg ˙˙˙
œ œ œ œ œ œ œ œ g

0 3 ggg 3
Ô 1 3 1 1 0 0 1
.. ggg 10
3
2
3 2 2 0
0 2H
0
0
2 2 ggg 2
1 1 3 3 3 3 3 3
g3

14
 COCAINE BLUES
j j
C j F
œ œ œ œ j j
4 .. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ 46
& 4 œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
VERSE

3 3 0
Ô .. 0
0 2H
0
0 2H
1 3H
2
0 2H
0
1
2
3
1
0 2H
3
1

3 3 3 3 1 1

j j C j G
6 œ œ œ œ œ ˙. 44 ‰ œ œ ˙ ‰ j œ œ œj j
& 4 œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ

0 3
Ô 3H
3
3 P1
2
3
0
2 2
0 2H
0
0
0
2
1

1 1 0 1 3 3 3 3

C 3 E
& ˙ œ œ œ w .. Œ 3
œ # œœ œ
œ œ œ œ œ œ #œ œ œ
œ œ œ œ œ œ
CHORUS

Ô 2
0
0 2H
1
2 2
..
0 1H 2H
0 1H
2
0

3 3 3 3 0 0

j j j F j œ j
œ # œ œ œ. Œ 6
œœ œ œœ œ 4 œ œ œ œ ˙. 44
& #œ œ œ œœ œ œ
œ œ œ œ œ œ œ œ

0
Ô 1
2
2 P0
1
2
0
0
2H 0
3H
2H
3
1 3H
3
3 P1
2
3
0 0 0 1 1 1 0 1

15
 C j G C
œ ˙ j
‰ œj œ œ œj œ
3

& 44 ‰ œ œ œ œ œ
œ ˙
œ
œ œ
œ œ
œ
œ œ œ œ œ œ

3
Ô 0
2 2
0 2H
0
0
0
2
1
2
0
0 2H
1

3 3 3 3 3 3

INSTRUMENTAL BREAK
C‡ E
j 44 ‰ œj # œ œ œ # œ œ
& w œ œ 46 ‰ œ œœ b œ œ œ œœ œ œ œ œœ œ œ
œ œ œ œ œ œ œ

Ô 2 2
0 2H 3
0
1
2
3 P1
3 P0
2
0 1H
2
0 2 P0
2
3 3 3 3 3 0 0

F j œ j C j
‰ j 6 œ œ œ œ ˙. 44 ‰ œ œ ˙
& œ œ œ œ œ œœ œ 4 œ œ œ œ
œ œ œ œ œ œ œ œ

0 3
Ô 2
3
1
0 2H
3
1 3H
3
3 P1
2
3
0
2 2
1 1 1 1 0 1 3 3

1. 2.
G C
j j j 3
ggg ˙˙
& ‰ œ œœ œ œ œ œ œ ˙
D.C.
œ œ œ w w
œ œ œ œ œ ggg ˙˙˙
œ œ œ œ œ œ ˙ gg ˙

ggg 3
Ô 0 1 1 ggg 10
0 2H
0
0
2 2
0
0 2H 2 2 ggg 2
3 3 3 3 3 3 3
ggg 33

16
 (from the playing of Rev. Gary Davis)
Now when some people drinks, they drinks they rum, some Here come a high, tall person
drinks homemade wine, you know some people drinks gin... All you people ought to be like me, drink that good
all that kind of stuff, you understand. Some folks takes a meal corn whiskey
and some folks sniff cocaine. Way back yonder when I was a Let the cocaine be.
child, I been hearing tell of cocaine ever since I been knowing
Cocaine, it done got all around my brain
what drinking was. Used to be to tell me when you used to
sniff cocaine, you'd put it on the point of a knife, you under-
stand, and sniff it up your head. You understand, they had the
biggest kind of trouble. Now they start to have a better way, That fellow got some sense,
you understand, for you to get it, you understand. Sometimes he wants something to do him good,
you get it in your vein, they call it now, today, narcotic. You not to kill
understand, well, it's that same name that they give it, way him, you understand?
back yonder, cocaine, but it's that same narcotic. Sometime,
I was ready to get filled up with cocaine and ain't had took
nary a sniff. Sometime you get tied up in love, you understand, (Various verses from other sources)
you got cocaine a plenty, don't have to snuff none. Ain't that Everytime my baby and me go up town
right? police come and they knock me down
Cocaine all around my brain
I hear a boy say
I'm going uptown, I'm gonna hurry back Hey baby, better come here quick.
He said, my baby's got something I sure do lack This old cocaine is making me sick.
What is it? Cocaine all around my brain.
He said, cocaine, gettin' all around my brain,
Yonder comes by baby, she's dressed in red
Said, see that woman yonder coming,dressed in black? She's got a shot-gun, says she's gonna kill me dead.
What's the matter? Cocaine all around my brain
I believe to my soul, she's gonna take me back,
Cocaine, all around my brain, Hey baby, better come here quick.
This old cocaine is making me sick.
Here's somebody draggin', can't hardly make it Cocaine all around my brain.
Said, you oughtta been dead long time ago
Snuffin' cocaine up the head, Early one morning, half past four
Cocaine, all around my brain, cocaine came knockin' on my door.
Cocaine all around my brain
Here come a man with a pretty girl
Talk about your good gal, you oughtta see mine. Hey baby, you better come here quick.
She ain't so pretty but she do dress fine This old cocaine is making me sick.
Cocaine, all around my brain. Cocaine all around my brain.

Here's a fellow done got too much of it, Cocaine's for horses and it's not for men
you understand, about to kill him Doctor said it kill you, but he don't say when.
He said, run here baby, please, ma'am, run here quick Cocaine all around my brain.
This cocaine is just about to make me sick
Cocaine, all around my brain. Hey baby, you better come here quick.
This old cocaine is making me sick.
That's one of them old-time playing, you see? Cocaine all around my brain.

One of these mornings, it won't be long,

You're gonna wake up and call for me and I'll be gone
Wants to get something, now.
Cocaine, it done got all around my brain

17
 SEE SEE RIDER
(ALTERNATING BASS)
C j j j
C‡
j
˙ ‰ œ. œ œ.
& 44 œ œ œ œ
˙
œ œ ˙œ œ œ œ
œ œ bœ œ.
œ œ
œ œ bœ
œ œ œ œ

0 0 0
Ô 2
3
2
1
2
0
2 2
3 1
2
3
2
1
3
2
3 3 3 3 3 3 3
3

F j C
œ œ œ j ‰ œ.
& # œ œ œœ œ ˙ œ #œ œ œœ œ nœ ˙œ œ œ
œ œ œ œ œ

Ô 1 2
1
3
2
3
1 2
1
3
3 1
3
0
2
0
2
3
1 1 1 1 3

C‡
j j F j j
‰ œ œ œ. œ œœ œ œ œ œ œ œ œ
& œ b œ œ œ œ œ œ # œ œ œœ œ
œ œ œ œ œ

Ô 3
1
2
3
1
3
2
2
1
3
3 1
3
0 1 2
1
3
3 1
2
3
1

3
3 1 1 1 1

C j A‡ j j D‡ j
œ.
& œ # œ œœ œ œœ œ #œ œ #œ œ
œ œ œ. Œ n # œœ œœ œœ ..
œ#œ œ
œ œ œ œ œ œ
#œ œ

0 0 0 3 2 3H 2 3 2 0 2
Ô 2
4
4
0
4
4
0
1 —— 2
2
2
2
1
0
1 1
0
3 0 0
2 2

18
 G C
j j j
‰ j
œ œ œ œ œ œœœ œ
j b b œœ œœ ˙˙ ‰ œ
& # œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ

0 3 3 2 1
Ô 3
0
0
3
0
1 3 -5 4 3 1
0
2
0
2
1

3 0 2 3
3 3 3 3

C C‡
j j j
˙ ‰ œ. ˙ œ œ. œ œ b œ œj œ œj œ œ œj
j
& œ œ ˙œ
œ œ œ œ œ œ œ œ œ œ œ
œ
œ

0 0 0 0
Ô 2
3
2
1
2
0
2 2
3 1
2
3
1
2
1 1
2
0
3 3 3 3 3 3 3
3

F C
j j
& œ œ œ œ œ œj # œ œ œœ œ œ œ j ‰ œ.
œ œ nœ ˙œ œ œ
œ œ œ œ œ

Ô 2
3
3
1
2
3
0 1 2
1
3
3 1
3
0
2
1
2
3
1 1 1 1 3

C‡ F
j œ j
‰
& œ bœ œ œ œ œ œ œj # œ œ œœ œ œ œ œœ n œ # œ œ œœ œ œ œ œœ œ
œ œ œ œ œ

Ô 3
1
2
3
1
3
2
0 1 2
1
3
3 1
2
3
0 1 2
1
3
3 1
2
3
1

3
3 1 1 1 1

19
 C
j
A‡
j j œ. D‡
j
œ.
& œ # œ œœ œ œœ œ #œ œ #œ œ
œ œ Œ n # œœ œœ œœ ..
œ#œ œ œ œ œ œ
œ œ #œ œ

0 0 0 3 2 3H 2 3 2 0 2
Ô 2
4
4
0
4
4
0
1 —— 2
2
2
2
1
0
1 1
0
3 0 0 0
2

G C
j j
‰ j
œ œ œ œ œ œ
j
œ œ
œ b b œœ œœ œœ Œ ggg ˙˙
& # œ ˙˙˙
œ œ œ œ œ œ œ œ œ gg ˙
gg

0 3 3 2 1 ggg 01
Ô 3
0
0
3
0
1 3 -5 4 3 1
0 ggg 0
ggg 23
3 3
3
3
0 2 3 ggg 3

See see rider, see what you have done, Lord, Lord, Lord
Made me love you, now your gal has come
You made me love you, now your gal has come
I'm goin' away, baby, I won't be back ‘till fall, Lord, Lord, Lord
Goin' away, baby, won't be back till fall
If I find me a good man, won't be back at all
I'm gonna buy me a pistol, just as long as I am tall, Lord, Lord, Lord
Shoot my man, and catch a cannonball
If he won't have me, he won't have no gal at all
See See Rider, where did you stay last night? Lord, Lord, Lord
Your shoes ain't buttoned and your clothes don't fit you right
You didn't come home till the sun was shining bright
I'm goin' to Louisiana, you know that's across the line
Goin' to Louisiana, you know that's across the line
Goin' to Louisiana, you know that's across the line
I'll be seldom seen, baby, and hard to find
If I had two women and my partner didn't have none
If I had two women and my partner didn't have none
Had two women an' my partner didn't have none
I'd take one of my women and give my partner one
Soon one mornin', blues knocked on my door
Soon one mornin', the blues knocked on my door
Oh, soon one mornin', the blues knocked on my door
Come here to stay with you, won't be leavin' no more.

20
 SEE SEE RIDER
(MONOTONIC BASS)
C j j j j
C‡
˙. œ œ
& 44 œ œ œ œ
œ
˙
œ œ ˙œ œ œ œ
œ œ œ bœ w
œ œ œ œ œ œ

0 0 0
Ô 3 1
0
3 1
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

F C C‡
j j j j j
& œ œ œ œ œj œj œ œ œ œ œ œ wœ œ œ œ b œ œ œ œ œ œj
œ œ œ œ œ œ œ œ œ œ œ œ

Ô 2
3 1
2 0 2
1 3 1
2 0 3
1
3
1
0
3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1

F
j j
C
j
A‡
jœ j
‰ œ œ œ œ œj œ . # œ œœ œ œœ œ # œ œ œ œ.
& œ œ ˙
# œ
œ
œ# œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ

0 0 0 3 2 3H 2 3
Ô 2
3 1 3 1
2 0
2
4
4
0
4
4
0
1 —2
2
2
2
0 3 0 0
1 1 1 1 1 1 1

C
D‡ j G j j
G
#œ œ œ. ‰ # œj œ œ œ œ œ œ œ œ œ b b œœ
j œœ œ
& Œ œ
˙˙
œ œ œœ
œœ
œ
#œ œ œ œ œ œ œ œ œ œ œ

2 0 2 0 3 3 2 1 3
Ô 3
0 3 1 3 -5 4 3 1
0 0
u
0
0
0
3 0 2 3 3
2 2 2 2 3 3 3 3 3 3

21
 C C‡
j j j
œ Œ Œ œ ˙ œ œ œ œ œ b œj œ œ bœ œ œ œ
& œ ˙œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ

0 0 0
Ô 3 1
0
3 1
3
1
3
1
3
2
3 3 3 3 3 3 3 3 3 3 3 3 3 3
3

F F C C‡
j j
& œ œ œ œ œj œ œ œ œ œj w bw
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

Ô 2
3 1
2 0 2
3 1
2 0 3
3 3 3 3 3 3 3 3
1 1 1 1 1 1 1 1

F C j A‡
œ œ
j j j œ œj œj œ œj œ œ j
œœ # œ œ œ œ œ # œ ‰ œ œ .
œ
& œ œ œ œ œœ # œ œ œ œ
œ œ œ œ œ œ œ œ œ. J œ œ œ œ

0 0 0 0 3 3 3
Ô 2
3 1
2 0 2
1 3 1 1
u
1
0
2
4
4
0
4
4
0
1 —2
2
2
2
3 0 0
1 1 1 1 1 1 1 1

D‡ G C
j j j
#œ œ œ. ‰ # œj œ œ œ œ œ œ œ œ œ b b œœ
j œœ œœ Œ œœœ Œ
& Œ n œœ œ œ œ œœ
œ œ œ œ œ œ œ
#œ œ

2 0 2 0 3 3 2 1 0
Ô 1
0 0
3
0
0
3
0
1 3 -5 4 3 1
0
1
0
2
3 0 2 3 3
2 2 3 3 3

22
 SAVE UP YOUR MONEY,
JOHN D. ROCKEFELLER, PUT THE PANIC ON
C F
j j
4 # œ œ œj œ œ œ œ œ œ #œ œ 64 n œ œ j
œ ˙œ ‰ œj œ œ 44
& 4#œ œ œ œ œ œ œ œ
Ó. œ œ Œ

0 0 3 5 3 0
Ô 4
4
0
1 4
4
0
4 3 P1
3
2
3 3
0 2H
1

3 3
1 1

C G‡
‰ œj œ # œ œ
& 44 œ œ œ œ
Ó
œ œ
œ
œ œ œ œ
œ
œ œ
œ œ

3
Ô 0
2 2 2
0 2 3
3
3
0
0
0
0
0
3 3
3 3

C
#œ œ nœ œ
& œ œ œ œ œ œ œ œ 46 œ œ œ œ
44
Œ œ Œ œ œ

2 1
Ô 0
0
0 2H
1
0
2 2 2 2
3 3 3
3 3 3

j j
œ œj œ œ œ œ œ #œ œ
C F
4 # œ œ 64 n œ œ j ‰ j 4
& 4#œ œ œ œ œ œ œ œ ˙œ œ œ œ œ 4
Ó. œ œ Œ

0 0 3 5 3 0
Ô 4
4
0
1 4
4
0
4 3 P1
3
2
3 3
0 2H
1

3 3
1 1

23
 C G‡
j œ
& 44 œ ‰ œ œ œ œ œ #œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ œ

3
Ô 0
2 2
0
2
1
0 2 3
3
3
0
0
0
0
0
3 3
3 3

C
#œ œ nœ œ j
46 ‰ œ œ œ wœ 44
& œ œ œ œ œ œ œ œ
Œ œ Œ œ œ œ œ

2 1
Ô 0
0
0 2H
1
0
2 2
0
2
0
2
3 3 3
3 3 3

C F
j œ j œ œ œ œ j
œ œ j ‰ œj œ œ 44
& 4 # œ œ œ œœ œ œ
4 # œ 64 n œ œ œ ˙œ
œ œ œ
Ó. œ œ Œ

0 0 3 8 5 0
Ô 4
4
0
1 4
0
8 3 P1
3
2
3 3
0 2H
1

3 3
1 1

C G‡
j œ
& 44 œ ‰ œ œ œ œ œ #œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ œ

3
Ô 0
2 2
0
2
1
0 2 3
3
3
0
0
0
0
0
3 3
3 3

24
 C
#œ nœ œ œ ‰ œ. ˙˙
& œ œ œ œ
œ œ œ œ œ ˙
Œ œ Œ œ

2 1
Ô 0
0
0 2H
1
0
2 2
0
2
1
0
3 3
3 3

Rev. Gary Davis

25
 BLUES IN C
(C) (C‡)
œ bœ œ #œ œ
Swing tempo
bœ œ ˙ bœ
3 3
4 œ œ œ œ
& 4 œ œœ œœœ œ œ œ
#œ œ
œ bœ œ
#œ
3
3 3
(wham & release)
3 3

3 2 1 0
Ô 0 2
1 3 W 3 W–3
0 2
1 3 W– 3 P1
2
1
2 0
1 2H
4 1
3 0
1
3

F
j ‰ ‰ œ bœ œ œ œ œ.
3
‰ ‰ œ b œ œ œ œ œ̇ œ
3

& œ œ œ œ b œœ œœ œ #œ œ
‰ Jœ Œ ‰ œ œ œ œ J
3
J J J J

Ô 2
0 2H
0 1
3 e
1
3
3W P1
2
1 3W P1
2
1
2 0
1 2H
3
0 1 0 1

C C j
G‡ j A D‡ j
œ œ œj œ j j
Ó œ bœ œ #œ. ‰ n # œœ œœ œœ œœ ‰
& œ œ œ œ œ œ nœ
œ œ œ œ œ œ bœ œ
#œ

1 1 3 0 2 2 2 2
Ô 2 0
1
2
4 -3 2
2
1
0
1 1 1
0
3 2 3 0 0 0
3 2 2 3

G‡ j C
n˙ œ œ j œ bœ œ œœ œ œ
& ˙ œ œ œ œ œ œœ œœ œœ
œ œ œ œ œ œ bœ œ œ œ
œ œ œ œ ‰ œ Ó
J
1 3 0 3 2 1 0 3
Ô 0
0 0
1
2 1 0
0 1
2 u
1
0
2
0
0
u
0
0
0
1

2 2 3 2 3
3 3 3

26
 C
œ œ #œ œ j
j œ œ œ œ bœ œ œ œ œ œ œ
3
œ
& œ œ œ œ œ œ œ J œ œ œ
3
3
œ 3

5 P3 0 3 3
Ô 4 1
2 0 2
1 3 -5
0 2
1 3W 3W
W-3P1
2
1
2
3
3

C‡ F
j j j j
Œ ‰ œ j œ ‰ j j œ œ œ œ œ œ
& œ # œ œ œ b œœ œ œœ ‰ œ œ œ œ
œœ œ œ œ œ œ œ
‰ œ œ œ œ œ œ
J
0
Ô 0
1 2
1
3
1
t
1
3 2
1
2
3
1
2
3
2 0 2
1
2
3
3 1
2
3
0
3
0 1 1 1 1 1

C C j G‡ j
A D‡ j
j œ. j
œœ œœ œ œ œ b œ œ # ˙ œœ œœ ..
& œœ n # œœ œœ
œ œ œ œ œ œ œ
œ œ œ #œ œ #œ œ

3 1 1 3 0 2 2 2 2
Ô 2
0 0
0
1
2
4 –3 2
2
1
0
1 1 1
0
3 2 3 0 0 0
3 2 2

G‡ C
œ nœ œ œ œ œ œ œ bœ bœ œ œ œ
3 j j
œ
& #œ œœ œ œ. œ œ œœ œ
œ œ œ œ œ œ
œ œ œ œ ˙

3 1 0 3 2 1
Ô 3
0
0
0
0
1 3 -5 4 3 1
2
0
t
0
0
0
1

3 0 2 3
3 3 3 3

27
 C
j j F j G C G‡ j
œ œ œ œ 3
œ œ j œ œ.
& ‰œ œ
œ œ #œ œ ˙
œ œ œ
œ ˙
œ œ
œ œ œ œ œ œ
œ

3 3 -5 3 3 0 1 1
Ô 2
1
2
1 2
1
3 0
1
2 0
3 3 2 3 2
1 3 3

Fj j
œ œj œ
j
C
j j œ.
C‡ j j
œ œ j
3
œ œ
œ œ b œ œ œ œ œ œ
& œ œ œ œ œ œ #œ œ œ œ
œ œ œ œ œ

3 1 1 3 1 3 1
Ô 1 0
0
3
2 3
1
3
0 1 2
1
3
1
3
1

3
3 1 1 1 1

C C j
G‡ j A‡ D‡
j j
œ œ œ bœ œ #œ
˙ œ œ œ nœ #œ œœ œœ œœ ..
& œ œ œ œ œ œ œ œ
œ œ œ œ #œ œ

0 1 1 3 0 3 2 2 0 2
Ô 2 0
1
2
4 –3 2
2
1 1
0
1
0
1

3 2 3 0 0
3 2 2

G‡ C G
œ œ nœ œ œ œ bœ œ j
œœ ‰ œ œ œ œ œ
3

& #œ œ œ
œœ œ œ œ œ
œ œ bœ œ œ œ
œ œ œ œ œ œ ‰ œ œœ
J 3

3 1 0 3 2 1 3
Ô 3
0
0
0 0
1
2 1 0
0 1
2 t
1
0
2
0
0
0 2
1

3 2 3
3 3 3 3

28
 (C) (F) C j 3

N +œ +œ 44 ‰œ œ # œ œ œ œ
& œ œ œ 43 œ œ
œ œ bœ œ œ œ
œ # œ
œ œ J

3 0
Ô 3W3W1
2
1
1 P0
0
2
4 1
2
1 2
0

0 3 3
0 1

C‡ F
œ Œ œœ œœ jœ ‰
& œ œ œ œ b œœ
‰ œ œ œ bœ œ œ œ œ œ bœ œ œ œ
œ œ œ œ œ œ
J 3

3 3
Ô 1
0
0
1
2
1
t
1
3
2 0 1 P0 0 1 P0 0
3 0 3 3 0 0 3 3
3 0 1 0 1

3
C j G‡ j A‡ D
œ C j
3
œ œ #œ œ œ œ œ
œ . œ œ j œ œ b œ j œ # œ œ œ
& ‰œ œ œ œ #œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ

3 1 1 3 0 3 5 8 5 7HP5 5 8 5
Ô 2 0
1
2
4–3 2
2
3 –7 7
0
0
3 2 3 0 0 0 0
3

G j C 3 G
œ œ œ œj œ j
3 3
3
#œ œ
j œ œ b œ n œ n œ œ œ œ œœ œœ ‰ œœ œ œœj ‰
& œ # œ œ œœ œ œ œ bœ œ œ œ
œ œ œ J ‰ œ œ . œ Jœ
J
3 0 3 0 1 0 3
Ô 3
0
0 0
1 2 -5 6
2 -5
4
4
5
3
3
4
1
2 t
1
0
2
0
0
0
t
0
0
3 3
3 3 3

29
 C F j C G‡ j
œœ œ # œ œ œ œœ œœ œj
3 3

& œ œ œ œœœ œ # œ œ œ œ œ Œ ˙
#œ œ œ œ œ
œ J J œ œ
3

3 5 0 3 0 1 1
Ô 1
2
4 1
2 0
1
2
3
4 1
2 0
1 2
1
2
0 0
0
1

3 2
1 3

C C‡ (F)
j j œ œ
œ
& œ œ b œ œœœ
œ ‰ œ œ œ bœ œ œ œ œ bœ œ œ œ œ
œ œ œ œ œ œ
J 3
3
Ô 0
0
3
1
t
1
3
2 0 1 P0 0 1 P0
3 0 3 3 0 3 3 0
3 0 1 0 1 3

(C) C A‡ D‡
j j œ j
Œ. j #œ œœ œœ œœ j
& œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
œ
J
#œ
J
œ
J
œ
J œ œ œ œ
#œ
3

3 2 2 0 2
Ô 3 -5 4 -5 4 -5 4 -5
0
1 2H
0
2
2
2
2
1
0
1
0
1
0
0
3 3 0 0
2

G C G
3 œ œ œ œ œ j j j j j
œ œ
& œ # œ œœ œ ‰ œœ ‰ b œœ ‰ œœ ‰ œœ œœ ‰ œœ œœ œ œ
œ œ œ œ Jœ œ œ b œ œ œ œ œ œ . œ œ œœ œ
J
3 1 0
Ô 3
0
0
0 0
1
5
5
5
4
5
3
1
0
t
1
0
2
0
0
0 t
0
0
0
0 2H
3 3 -7 6 5 3 2
3 3 3

30
 (C) (F) (C)
j bœ j
œœ œ œ œ œ œ b œ œ Jœ œ . œ œ œ +œ œ+ +œ +œ +œ +œ +œ œ+
3
œ œ œœ
&
3
3

5 P3 3
Ô 1 3 W– 3
e e 3
0
3
0 0 2
1 4 4 P3–1
2
1 3 W3 W3 W3 W 3 W3 W3 W3 W

F
bœ j + j
& œ œ œ œ œ œœ œ
œ œœ œ œ œ œ œœœ œœ œœ b œ œ œ œ œ œ œœ œ
3 œ œ œ 3 œ

Ô 3 W– 3 1
2
1
0 e 1
0
0
0
1 3W 1
2 2
1
t
1
2
3
0
0
1
2
3 W – 3 P1
2
1 3 1
3
0

1 1 1 1

C C j
G‡ j A‡ D‡
j j
& ˙œ
œ œ œ œ œ bœ œ #œ œ œ
j #œ n œœ œœ œœ œ
œ
œ œ œ œ œ œ œ
œ œ œ #œ œ œ

1 1 3 0 3 2 2 0 2
Ô 2 0
1
2
4 –3 2
2
2
1
0
1
0
1 1
2
3 2 3 0
3 2 2 2

G j j
C F F≥— G G‡
j
C
U
C‡
‰ j œ œ œ œ œ œj œ œ b œ
& #œ œ œ œ œ œ œ œ
œ œ œ œ œ œ #œ #œ œ œ œ nœ œ œ œ œ

3 0
Ô 3
0
0
0
0
1 1
3
1
4
0
0
3
3
1
0 2 0 3
3 2 3 0 3
3 3 1 2 3 3

31
Sara Martin and Sylvester Weaver

32