Doyle dykes virtuoso fingerstyle guitar
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Transcript of Doyle dykes virtuoso fingerstyle guitar
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0~0~ Virtuoso Fingerstyle Guitar
Special thanks to Holli Dykes
Project Manager: Aaron Stang Additional text and analysis by jon Chappell
Transcribed by jon Chappell Engraved by Mark Ralston Technical Editor: jack Allen
Photos courtesy of Doyle and Holli Dykes All recordings courtesy of Doyle Dykes, except "Girl"
used by permission ofWindham Hill Records Art Layout/Design: jorge Paredes
2003 WARNER BROS. PUBLICATIONS All Rights Reserved
Any duplication, adaptation or a.rrangement of the compositions contained in this collection requires the written consent of the Publisher.
Transcribed by Jon Chappell
No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
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Acknowledgments
I'd like to acknowledge a few of the folks who helped
make this book possible. First, thanks to my fearless
editor, Aaron Stang, who believed in Doyle Dykes'
music enough to envision and then pave the way for this
book, and then to offer wise counsel on its creation and pro-
duction through all phases. Thanks to my wife, Mary, for
continued support, and for putting up with my vain attempts
to play "Birmingham Steele" up to tempo; to my friend and
Finnish freeboard fanatic Eero Kilpi, for inspiration on all
things guitar; and to Jeff Jacobson for aid and comfort in the
transcription trenches.
I'd like to extend a very special thanks to Holli Dykes,
whose triple talents in art direction, photography, and text
editing have benefitted every aspect of this project.
And finally, my sincerest gratitude to Doyle
Dykes, in whose hands the guitar becomes a
mighty voice that speaks to all who hear it. I've
never met anyone who wasn't transformed when
bearing witness to Doyle's genius, generosity,
and deep commitment to spirituality and
music. When I heard him play for the
firs t time, I said, "It just doesn't get any
better than this." Then I got to know
him. And it got even better.
Thank you, Doyle. -Jon Chappell
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Contents
Page CD Track
Angels' Desire ... ...... .......... .. .............. ... ... .... ..... ~12 ..... .. ..... .... ... ... . 1
Birmingham Steele ......... .. ... ... .. .. ........ ...... .. ....... 20 .. ... ........ ...... ... . 2
Caleb's Report ... ........................... .. .......... .... ... .. 36 .... .. ... .... ... ....... 3
Celtic Cowbo ........ , .... .... .. ............. ............. ... ... 42 ..... ....... .. ..... ... . 4
T he Changing of the GHard .... .............. .... .. ..... 52 ... ...... .. ........ .. .. 5
Country Fried Pickin' ....... ... .. ............... ...... ...... 27 ..... ..... ......... ... . 6
Girl . ...................... ........... .... ... ..... .... .. ............. .. 56 ....... .. ... .... ....... 7
Ho ling of the Wood .................. ~~ ......... .. ....... 65 ........... ............ 8
T he Ja bone .. ...... .... ....... ............... .. ..... ............ 76 .......... ... ... ....... 9
Mart a's Kitchen ... .... ..... .... ................ ... ............ 86 ... .......... ... .... . 1 0
Miss Haley's Music Box ........ .. .. ~~ ........... .......... . 83 ..................... 11
Misty Nights in Tokyo ..... ........ ........... ........... ... 94 .................. ... 12
The Road Back Home ........................ .... .... .... 102 .......... .. .. .... ... 13
Self Portrait on Acoustic Guitar ..................... 107 ........ .. .. .. ....... 14
The Visitation .. .. .. ............... .. .... ........... ... ...... ... 112 .... ... .. .. .... ..... . 15
Wabash Cannonball ........ ... .. ................ ........ .... 124 .... .. ... ............ 16
White Rose for Heidi .......... ...... ...................... 119 ..................... 17
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A Modern-Day Virtuoso Honors His Traditional Roots
By Jon Chappell
Doyle D ykes is one of today's most spectacular fingerstyle players, hailed as the favorite son in the direct lineage of Merle Travis, Chet Atkins, and Jerry Reed. Doyle's technique is firmly rooted in the alternating-thumb sound of his forebears, yet he brings an unparalleled range and virtuosity to these traditional styles. He inherited the locomotive drive from Travis (father of Travis picking), the sassy blues from Reed, and the elegant and artful arranger's touch from mentor and friend Chet Atkins. But within this fiery folk-based fin-gerstyle approach, Doyle successfully imbues his own musical synthesis, melding authentic Travis picking with Celtic melodies, country blues, gospe l grandeur, and swing jazz. He seasons his winning recipe with cascading harmonics and lickety-spli t s ingle-note runs.
Doyle came on the scene quietly, first by conducting clinics for Taylor Guitars, and then releasing two inde-pendent albums, Fingersty/e Guitar and H.E.A.T. (both on Howling Wood Records). He has since released four more albums and upped his clinic and concertizing schedule so that his following is no longer limited to a grass-roots effort of ardent fingerstyle cognoscenti. "I've noticed my audiences include more and more younger people," observes Doyle. "These are kids who grew up on the Seattle sound, and I play stuff by Merle Travis and they go, 'Whoa, that's great! I've always wanted to do that. ' To which I say, 'Yeah, and can you imagine this was being done by a guy in the 1940s?' I think MTV gets younger people interested in acoustic guitar in the first place, and then these kids will come and hear guys like me and realize there's a whole world of fingerstyle players out there."
Growing up in Jacksonville, F lorida, in a household suffused with music, Doyle first picked up a guitar at age 11. "My dad showed me how tO play, and he always had great guitar music on the record player," remem-bers Doyle. "One day at church, when I was about 14, a sailor named Barry Lackey got up and played authentic Travis picking. When I saw that man play that way, it literally changed my life. I made up my mind then and there that that's what I was going to do with my life." As an interesting postscript, Doyle met up with Mr. Lackey recently-over 30 years later- at a guitar clinic Doyle was giving in Detroit.
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Doyle got an early and impressive professional start, playing with his own family of performers, and doing touring stints with gospel great J.D. Sumner, a band called the Crusaders, and Elvis Presley's one-time back-up band, the Stamps. In each show, D oyle was summoned front and cen-ter for a solo instrumental spot. The prominence of these cameo appear-ances grew until eventually he became the featured part of the show. Even though he was honing his solo virtuoso chops in front of large audi-ences, he was still only in high school. "Often, after traveling all night," Doyle says, "they'd just drop me in the school parking lot and I'd head off to class, with no one being the wiser that I'd been up all night playing music and traveling, or that I'd just stepped off a tour bus."
After high school and a brief stint in Nashville as a sideman and journey-man musician, Doyle returned to his homecown of Jacksonville, where he married his high school sweetheart, Rita, got a day job, and settled down. His next break came when he auditioned and landed a job with Grandpa Jones, the legendary musician and humorist from Hee Haw. It was while
playing with Grandpa that Doyle first got to play on the stage of the Grand Ole Opry, alongside many of the legends of his youth, including Merle Travis, Tennessee Ernie Ford, and Chet Atkins. Doyle left Grandpa's band only when he realized he wanted tO devote more time to his religious pursuits and start his own church. Doyle remained close friends with Grandpa for the rest of his life.
For a while, Doyle was balancing his music activities with his church commitments, but he remained con-flicted. "I knew I was a good guitar player," he reflects, "but I don't know how good a preacher I was. So one night I just went into a room in my house, when everyone was asleep, and in full voice, out loud, just asked the Lord what He wanted me tO do. I said I would do anything He wanted, I just needed to know. And He answered. And it was to be a musician. It was to bring His message to people through my music, my guitar."
And that's when Doyle's guitar career took off. "It all just fell into place from that moment on," he asserts. "Not only did everything start to happen professionally, but creatively too. The songs just flowed out of me." He is more prolific than ever, writing songs, concretizing, and producing new projects. Doyle has released a .concert video (Live at Harvest) and six albums, including Country Fried Pickitz' (Howling Wood Records), an acoustic swing album featuring, among others, Duane Eddy on guitar, Dave Pomeroy on bass, Stuart Duncan on fiddle, and Paul Franklin on pedal steel. His latest release is Songs of Faith and Freedom (Howling Wood Records), an album of solo guitar arrangements featuring a string orchestra on some selections.
Through all his successes, Doyle never forgets that his prayer for guidance was answered, and what his purpose is: to bring music to the people he meets in his concerts, his clinics, and his travels. There is a bit of the pilgrim in Doyle, and it's impossible to see a Doyle Dykes show, to hear him play, or to know him at all, without bearing witness to the deeper purpose God has given tO his career. "I do recognize that what I have is a gift," he explains when asked about his prodigious talents, "but it's a gift from a higher place. If God can
breathe life into Adam, He can breathe life through my fingers, and that's what I feel people are reacting to."
Besides the spirituality evident in his balladic arrangements and the Travis and Atkins techniques on display in his uptempo songs, Doyle exhibits influences as diverse as jazz guitarist
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Lenny Breau (perhaps best known for his harmonic technique) and orchestral music in his playing. His rendition of the Beatles' "Girl" is a textbook study of fin-gerstyle art that incorporates jazz chords,
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harmonics, and a shimmering tremolo. "That tremolo effect that I do is with my fingers going index, middle, ring on the upper strings while I play the melody or arpeggios on the lower ones with my thumb," explains Doyle. "I was once over at Chet's and I saw him play a tremolo, and I real-ized I had been doing it backward all these years- because no one had ever shown me that it should go thumb, ring, middle, and index. I told him that, and he said, 'Let me see,' and handed me the guitar. So I played it my way, and he just looked at me and said simply, 'Well, it works, don't it?' Chet was like that."
To keep pace with the requirements of his music, both in terms of its tech-nical demands and sweeping dynamic range, Doyle's arranging skills have evolved accordingly, acquiring a virtuosity of their own. He realizes his vision by combining his own dazzling technique with an orchestrator's sense of color and texture, all the while retaining the rhythm and drive of his earliest influences. He offers these insights into marshaling these var-ied elements into a cohesive approach.
"T he first step is to develop a correct Atkins picking technique," Doyle advises, "because it helps with so many other styles, li ke Celtic music, where the bass is still very prominent, even though it might not be a strict alternating pattern. Chet understood how to place the tonic and dominant bass notes in an accompaniment pattern, as well as what to do with the upper-voice chords. In this way, he was like a skilled piano arranger- per-fectly adapting correct stride technique to the guitar. But so many other music forms have a steady, independent bass, so the alternating thumb that catches both the proper bass notes and the offbeat chords is crucial. The next step in arranging is listening to orchestras. That's where you'll learn that sometimes your bass line goes down and your lead line goes up. For example, in a I-to-IV progression, the bass might go downward: C, Bb, A, G, F. The lead notes could go up: C, D, D#, E, F. Put them togeth-er and that's an example of counterpoint. You can then fill these two har-monized lines out with chords: C, C9/Bb, F7/A, C7/G, F.
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Doyle with les Paul at the Iridium in NYC
"T hen I might con-nect the chords together with runs," he continues. "I'll play the melody soft at first with my right hand, then increase the dynamics, which means I'll play it harder. But I'll also include more chordal material in the left hand- three or four notes together with the bass, that type of thing. Then I'll run the bass line down to the low-est notes. When you have a tonic on the bottom string and your dominant on the 5th string, you have your founda-tion right there, just like in symphonic music, rock music, or anything else."
You can hear that grand style and majestic treatment in so much of Doyle's work, and his creative curiosity reveals the mind set behind the discipline and artistry he devotes to his music: "If you're playing in the key of, C," he pon-
ders, "why not rune down both the 6th and 5th strings, and get the C and the G together to get those pow-erful descending runs, and then work out the rest of the song with the fingering you'd normally get on the top four strings? That's what Chet would do. And that's what I try to do-always find an interesting setting or color for a song. Something that hasn't been done before. A different key or a unique technique applied to the melody, harmony, or accompaniment. That's when you're approaching the guitar as an arranger."
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A LESSON I TRADIT IONAL AND MODERN FINGERSTYLE VIRTUOSITY
By Jon Chappell
In add ition to a killer alternating thumb technique, Doyle Dykes sports a varied palette of fingerstyle tech-niques that include Lenny Breau-style artificial harmonics, behind-the-nut string bends, tremolo picking, cascading melodic passages, rapid-fire single-string playing, and more. But Doyle's greatest gift as an instru-mentalist is how he synthesizes a myriad of techniques into a seamless, fluid , and original style.
In this Jesson we' ll explore some Doyle Dykes hallmarks, and see how he infuses his own invention and genius into some established techniques. You can hear audio clips of these passages online, excerpted from Doyle's own recordings, at www.doyledykes.com/songbooklesson.htm.
Example 1 : Alternating Thumb Technique "Caleb's Report" is a great of example of plain old alternating thumb technique. After setting up a steady palm-muted thumb-bass intro, Doyle plays this sweet-sounding melodic figure in the first two bars. In the second two bars he opts for a less melodic, more fill-like approach, scattering treble-suing attacks between the thumb notes for a more arpeggiated effect. Palm mute the bass strings with the heel of your right hand to heighten the separation between the bass and treble strings. Before trying to play this notice the altered tuning, known as "G6 tuning": 0 G D G B E.
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Example 2: Alternating Thumb, Rockabilly Style This rip-roaring alternating-thumb passage from "Country Fried Pickin'" is in the style of the rockabilly rhythm figures of Jerry Reed, Scotty Moore, and James Burton. The riff starts in open position but quickly advances to fifth position to better facilitate the "quick D" change on the "and of 2" of measure 2, the "and of 2" of measure 3. It's not a true chord change, because the notes act as a mere double suspension of the A chord's 3rd and 5th (coD and F#), but when your left hand's in fifth position, it's easiest to just think of going to a D chord momentarily. Work to get the hammer-on from the C co C# quick and crisp. That will help pro-vide this figure with the necessary "snap 'n' sizzle."
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Example 3: Harp-Like Effects
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This ascending cascade figure from "Country Fried Pickin"' is a great example of Doyle's inventiveness. Instead of executing a straightforward cascade approach (where successive notes are played on separate strings), Doyle mixes in single-string technique by alternating his right-hand index finger with his thumb. The resultant line has the fluidity of a cascade-picked passage with some of the grit of an alternate-picked single-line.
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Example 4: Mixing Artificial Harmonics with Normal Notes This lovely, jazzy balladic passage is from Doyle's version of the Lennon and McCartney classic "Girl." He alternates artificial harmonics with normal notes, producing a linear effect that's not quite as evanescent as an all-harmonic passage, yet more ethere-al than an all-normal-note passage. To execute these harmonics, place your right-hand index finger over the node poinc- 12 frets above the left-hand-fingered note, indicated in parentheses in the tab. While lightly touching the string directly above the fret wire with your index finger, strike the string with your thumb, and then pull your index finger away to let the string ring. It takes some practice to coordinate the motion, but you 'll find you can produce clearly ringing harmonics consistently using this method. When mixing harmonics with normal notes, strike the normal notes with your right-hand ring finger.
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Example 5: Tremolo Technique T his tremolo passage is also from "Girl," and has a highly expressive effect that captures the song's senti-mental, "European cafe" vibe. Doyle plays his tremolo "backward," by his own admission, starting with his index finger. He doesn't mind if you start with the ring finger, and you may find it easier to build up speed playing your tremolo in the order of ring, middle, and index fingers.
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Example 6: Behind-the-Nut Bends Originally inspired by the banjo technique of stretching open strings with Keith tuners (named after their inventor, Bill Keith), Doyle adapted his own style of reaching behind the nut and "pushing" the 2nd string up (towards the ceiling) the appropriate amount (usually a half or whole step). Note that in this example, you must hold the bend in place and let it ring while you play the open 1st string, before releasing the still-ring-ing 2nd string, in rhythm, back to its original open-string pitch (A). The bending is made slightly less painful to your left-hand finger (you can use either your middle or ring finger, and put another finger behind it for added support) by the fact that the string is tuned down a whole step to A. When practicing this technique (meaning you'll be playing it over and over and over), it might be helpful to tune the entire guitar down a whole step after you initially tune to Gsus2. But it's worth a little pain, because this one's a real head-turner. Doyle uses the behind-the-nut bend on "Howling of the Wood," "Celtic Cowboy," "Wabash Cannonball," and the song this excerpt was taken from, "Birmingham Steele."
w/Open Gsus2 tuning:
=D =G @ = G @ = A = D
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Example 7: Frailing Banjo Style "Howling of the Wood" is a haunting, evocative work that balances heroic virtuosity with humble plaintive-ness. In this passage, Doyle evinces a frailing banjo sound by strumming the up-stem notes with the backs of his right-hand middle and index fingernai ls (in the folk guitar "brush" style) while playing the down-stem notes normally, with the thumb. Note the wind-in-the-wires, mountain flavor of the passage. If, in your fin-ger brushes, you accidentally re-strike the 2nd-string thumb note, don't worry; that sort of randomness is all part of the frailing ethic.
w/Open Gsus2 tuning:
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Example 8: Alternate Picking-Fingerstyle
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This searing single-note passage is the stop-time tag from "Country Fried Pickin'." Doyle executes the steady eighth notes just like a flatpicker would--observing strict alternate picking with downstrokes on the beat and upstrokes for the offbeat notes. Except that this in done fingerstyle, so ~e substitutes a thumb for the downstroke and an index finger for the upbeats. Note that this pattern is strictly observed, regardless of intervening slurs, like the pull-offs in measures 1 and 2.
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...--... ...--...
L. J ~ .J ~ /i ~ ~J ~ I .. .. A ~ .. A _,......, .. . r I r L.J
... ... .c----... .. ... .;---... .. .. ;;: ;.. :: :: ;... ~ , ... ~ ~
'"' ... ~ ~ :: :: ~ .. ~ .. ,., v .., .., .., .., - - - -... ... .. .. .., J - -- - - -
-
16 D6 D7
.... fl ~ ......... J 11rl .. Jl7 ~= f.J __ J ~"'"""-~ .l l J I I I . t) - I r - - - - .. -- - - - u u - - - -
r ~--r r ,. ,....-..._ ... ~ ... ... ,:.. :: :.. / u ~ ... v ,. v ,.
I , ;.. :: :.. :.. :. u u .A A 4 v i. ~ ;; v " ..... " A v v g
A A - -" " "
Dm Em/D F/D G/D Dm7/G Em7/G F6/G G Cmaj9 ,....-.... C6
-~ _.,
r ... I A U
' A A
g "
D6
fl U/J ,.....
-4 .. -.: I ---r ... .:.. :: !. I .:.. :: :.. l1 v ..... g
' " G7
fl u I ll.J -
~~ -
r ... I .ll '" ..... 01 01 g v
Cm(2)/D
fl lS d t) ---
-&
-... --I "' 4 lA ..... A 1\1 A g u
v
Angels' Desire - 8 - 5 0664B
u
I I I ..J
- u
r rit. .. v
v -"
" D7
~
)~J ) I ~ .., ~ ~ I r - - r r - -- -
~---r .....-.. ~ ... u ~ ~
:.. :.. A v u " -
A
"
G 13sus
~ r J ~ 1 J 1 l_:j -- - -
~ r D r ~---r 'A A A A .. IU
~ '" ~"'A 4ft ~ '"
'" '" ~~ " ,. ... '" " v u v
Cm!Eb
d -:1----:-J .. 7111 d ~
~ :::: :::: "' v A A
" -lA l A - 1ft '" '" ' " '" ft ...
r I r a tempo
"' .. v v
- - -.. - - v Gmaj7
d d:d d:=:d d - -u u
,,. 4 A tn. ~A ~ ~ ~ '-"
v - v " - - - ... A
C(2)/E CIE
d d J~J .I ... d
lA lA .. -... - ... - ;; :::: "'
,. ,. -v v u " '" 4 A 1ft ,,. 4ft -' " '" - ' " - '" ,. .A .., -G/D G/D
5/6BVII ------ ---- -- -- - ---- --- - ------ --- -- -- --- ,
1. ~ ..J I I I ..! ~ I j I I r = -~
-&
'" ... :.;' u - " " " -'" ... 01 ... . ,. -"' u v
A
"
...
lA
'"
.
-
AID
l't ~ 1 I J~J I J~J tJ -- --
-& -&
... ... p ... . .,. .,. I ... ...
" .n v v .... u A
" v
G Gmaj7
l't ~~J ,....... .J I ~
tJ u u a tempo ..
"'" A ..
A
I v v A
.n v .... v v u v
'
Cmaj9 ~ C6
l't ~ Jr:-~ 11-.. .. /~ .. ----: .. ~
tJ r I r f atempo .-""), .,. .. ... ~ .,.
"'" " "' ;; "' ., -- v ;;
I :! :! :! ::; ;; .n v .... p ... 1.1 v v
Gmaj7
'l ~ d d:d ~ :=:d t. - -u u
"- >A ... ~ _v ~ I . . .n v v .... " ... v " 1.1 v
C(2)1E CIE
"' ~ f ~- -:l-:J .... ..... t. r . p-r
'" 'I" ...... ...... :: I v A
.. "
v
ll v v .. A .... , .. ... ... ~ v
Angels' Desire- 8 - 6 06648
v ...
A v
...
"
17 Cmaj7/G C6/G CID 07
I Lll Jl D~J r-, j 1 ~ FJ~ .
V I V I rmolto rit. r rit.
.. ... .r;, p v p :. v ... ~:! ... ...
... ;:: ... v 1 v .. " ;:: .,. ... v " (~ "'- ;: . v v v v v
Dm Em/D F/D G/D Dm7/G Em7/G F6/G G
I I l I I I I. ~ J - - - . - . - -
Fcresc. f,u. - -r r .. v :::
A A ... " " " ;:: ;; v v ... v ... . .. -"' _ .. .,. ,.. ,.. A ,.. v v ... v v v v v v v v
06 0 7
~ I /J ~ ;w ) )~ r---, .. .. Jl ... I ~ . rr I I r - - r f- r - - -- - -r .. ~'-'r ... ... .. .;--:. .p .. ...
;:: / , ;, ;;. ;, ;, v ::; ;, ::; .,. ;:: .,. ',;, ;;. ~ ;, ... .:. "' " v .,. v v / v . ;. v A v I'> v ... v v v
... v v v
G13sus
I ! J !t.~ 1 J j._ ~ I I t. J .. -- r - ~ r p r r
'" ,.. .. A ft .. !.:' ..... !:; ... ,..... ,,.. . v !~ , .. , .. v v ... , .. '!'
v v ... v v v ~v v v v
Cm!D
d ! d "J----:-.. d .... ... - - i - --& -&
:: ~v ... - ~ :: v v v
" " " " '" '" '" '" '"
_ .. ,.. .. ... ... , .. ... ... ... " " .. .. '!' v '!' v v v v
-
18 GID G(2)1D GID A(2)1D AID
st6B vn -- -- -- -- -- -- -- - --- -- -- -- -- -- -- -- - -- -,
... ~ .If_ ~R -t : .. ~ .. ) .. ... .. \~ -& . ~ . . ~ . . .
t. ~ - ,. - . - ~ - - - - - ,. - fl'~ ,. - - ,. - ,. - ,. i! ; - - - - u - - - t. r r c.. - i i i i i i r II'-ff~ ... ;. ;. ::: ! _::; :; :..- :; ;: ;: a !. ft ft ::; ::; ... ..... :; ~ ~ ., ~;,:' ... :. - 1~ - - - - - - - - - - - - (-
GID G(2)1D GID A(2)1D AID 5/6BVll - ---- - - - - - - ---- --- -- ----- -----------------,
~ .. !J. P:-~ ~ fl u R j: .. .. . .. '~. _ .. -~ . ~ . . . . ~ . . . . . ~ ~ . - . - ,.. - ,.. ~ - - - - . - - ,.. - ,.. - . - ,.. - ,.. - ,.. ,.. - - - - - - - - - - - - - i i i ~ c.. r t. r r i r ( c.. C..=:
.., ~ ~ ~ ~ ~ ... ft. .. '"' " ~ ~ ~ - -~ I ~ ~ ~ ~ ~ ~ ~ ~ a ~ ~ :; ~ -... :; ~ ~ ~ ~ :; :; - ~ .:,. ~ ~ ~ ~ ~ .:,. .:,. u " "' "' "' ft "' "' "' "' "' "' "' " " " ' .... - - - - - - - v v - v v v v v
GID G(2)1D GID A(2)1D AID 5/6BVII - - ----- - --- -- - - - - - - -- -- - - ---- ---- -- - - -- - - - ,
P-.. ~ .. ~~ P-"" fl .If j ~= -t : .. ... .. ~~ , .. .. ... ....__ . . - . . . . - . . . ~ ~ ~ - . - ,. ~ - ,. - - ,. - - fl' ~fl' . - ,. - . - ,. - . - -- - - - - - - - - r r t. - t. r r r r r r r r
;. ;. ::: ;: ;:. :; :; :; :.: :; :: ~ ~ -" ft " " " :; ::;
~ ~- " 1- :; :; _ ... _ ... :; :; " ... ... _;.,_ ~ .
~ - - - - - - - - - - - -Bbmaj91D Dbmaj91D Ebmaj91D Dbmaj91D BbiD CID Cmaj91D Ebmaj91D Fmaj91D Ehnaj91D CID D
"' fl u I
u ~ = v ~
... ! ... .; a . ., -... v v u v " -v
C(2)/E
fl .If ) r--, d u ~ r .
mf
'" IV ., -
Angels' Desire- 8- 7 0664B
r
.... --" v -
L
= ~ ,. ::;
v
" v
" v lA IV
I I L L. J LJ
= v = = ~ ~ ~
A ,. .. ; ::; ~ ., "'-
v v v -- " v v v CIE
J-:J - 1 -.. .... r . ~~r
:: v " - " v ... '" IV IV - -
L I I L I uJ
= .. = = = = = = ~ ~ ~ ~ ~ ~ ~ ..,
" " " -: ::; ~ ~ ~ :::.- . ., .-... :;. - v - - -v - -" " " " " A .A v v v v v v v
Cm(2)1D Cm!Eb
~ ~ j J~_ J r J ----&
" - .. - " .. v " .. .. .. .. " A v v v
lA IV v IV -
~ v --
-
GIO
1\ ~ 1 -~ J I I l u ~
_. -- -
r~r .. - .. .
_I\_ _I\_ .., .., ..,
Cmaj7/G C6/G
1\ ~ A flf' -J I r l .
u V I I
,-..., ... .., .., I :: p .., p
4 ;: ., .., _ ... .., .., g
Dm ErniD FlO GIO
"l ~ I I I
~ - -- -- -r r ... "' "' ~ ... "' " -4 ... _ .. ... v .. ... .,
_Pi_ v ... v .., g
.., ..,
Cm(2)10
fl ~ ~ -
t.. ----&
'"' ... I
.0. .., .... .. ,.., ,..,
g :::: -D~ID B+IO Dm
fl ~ Jk J I J .J, I J J
u - r -- -- -r r ... .., .., .., ..,
A (2)10 AID 19
.J J J .J I J~J I J---J T l J I --
-&
,.. ..,
-CID
:...-,.. ...
..,
07 I':\
---& dim. _ ... ., ..,
.., ..,
"' ... ..,
G
JJr~ Ml FJ--~ r""-'\
r - u -molto rit. r 1Wp a tempo
"'"' '.:.; ,..--...
.., l~
. .., p
.., ( ;. ..,
"' .., ..,
"'- :;
"' v " v
Dm7/G Em7/G G9sus G C(2)1E I':\
k .. I JGt JQ - . -rrit. [ a tempo
,.--..., ,.--.., :::: .., - ~ ~ "' " ~ -
---&
., .., ..,
.., .. .., ..,
Gmaj7
J I l
u
.., ..,
..,
.... v
CIE
J jJ,.--..,
- .., .., .., .;. -: l ;. l:::: " " ... ,.. v
" v
J
.. v
..,
07~9)
I J I
_....I!
- -u
"' (
v _ft v
r
t"'
Cm!E~ I':\
d ---
_,.. .., '"' v .. .... '"' v ,.., , .., ,.., _,. ..,
A+ID G+ID F+IO
~= 1 . ~~_ J, - -- -- -r .
~~r r r
'.:.; A '"' .. " ;; ... .. ~ ... .. ..... ... '" v ,. . ... ,.., .. ,..,
,.., .., ..,
"' - v G(2)
~
~ ,.. fL ~ - ~ ri -- * n
- -u u
A.H. - - -- - - ------ - - ----- -~ rit. ~ ... ,.,
' "" p "'' '"' :::
rit.
., .., .., ..,
..,
I I T
.., ..,
-
J J
.., A ..,
"' v "' ,..,
J J .L l J
r " .. .. ... . ..
v ..,
I':\ n . -u
;::: .., " .., -: .- ,.., ~ "'' ' ": ~ 1). .. a;; -
Angels' Desire - 8- 8 0664B
"' v - :; . .., .., ..,
-: ;; r..,..,..,., . ,,., A
",..., v .., -
*Lghtly brush stnngs up and down wlball of index finger rapidly at first, then slowing.
-
20
BIRMINGHAM STEEL Tuning:
=D =G = G @ = A @= D fl ~o~ It 11 n u **r ~ -
>
'T ~ v ~ :-... ! ~ "
.. _. ,., Ll ~ ~ .... 1;1 -
**Strum beat 1 w/thumbpick. t Unison A on 2nd and 4th strings.
Birmingham Steel - 7 - 1 0664B
I
r
-n v
J
~
r
n v
I
v
~ J J. ~ fi':J. - r r I -- r -r ~ ~
~ -- ~ v ~
"' v ~ "' -
v -~-------- - -~
, ,..---...... 1 I I I
r r r hold - - - - - - - - i
r [----------~
. - v ,.,,
v v
v
v
G
....-::; ,--.., J - r - r r --r ." ... ~ ~ -"n - .... ,., " v
v v
-
1998 Heavenbound Music (BMI) All Rights Reserved
v
-
,...--,_
t\~1 ~ ~ I I . I r I r I
~
; :. ~ .; ~ ~
~ v
~ ~ v - -D(4)/A
r I r I v v
v v
v -
G9
~J: ~ J - r - r r --r ~ ~
" ~
v -v
" v -v
-
1"1 ~
u
"r ~
4
" ~ '
"r I
1"1 ~
u
"r !
4 ..... g
1\ ~
Subst. Filll, 2nd time C G
BV ------------ --------- -------------------- - ------ ---------- --, ...--..... J.
r ~
~ ...
r v
u
= ~
f
v
Dsus
~ _6j.
I r ,---.....
... "'
"' ~ . ...
~
"
r hold ----i r
I .~- - - -------.......
\ V
v
v
Dsus
4 .. .. .. .. .. .. .. .. ~ -
~I . 1 r
? ,_ "
... v
l r u v
v
D
.,,.--..., .. ~~IT IT til
-strum throughout section ::: ::: ::: ~ ~ ~
.v_ "- .v_ "- "- "- .".. .". ',.' ~ ',." ',.' '-" ': ~ " ~ .,_ .,_ .,_ ".: -v .".. .... . ... ' ' " " , .. - T
D .. .. .. .. .,,.--..., ..
~ .J I I i
I r I r ~
"' .: ;.. v "'
~ v - ~ v
~
.H I I
r r r v
V \ U / -v - u
v
Dsus2 - ~ ~ ~
~ ~ ~ ~ ~ ~ v u .-. ::: ::: ::: ::: ~ ~ ~ : .. : ::: ::: ::: ::: ::: ::: .~ ::: ::: ::: ::: :::
"' J J J "' "' "'
Dsus2 D ~ ~ r--
~
1'1 I
r ---r -~v
v
v
I
r r I
-~-
v v
D ~
til
v u u ~ u u u :'. ::: - ~ - :..: ::: .".. .".. .-. ~
-u =fl .. ~ ~ ~ ~~IT ~ til ~ ...:::; 411fT .......
~
"r ::: ::: ! :""- "-n . _ ... ._ ... ..... _.,_ .". IJ .... .... -
Birmingham Steel 7 - 2 0664B
...... -~ ::: ::: ::: ::: ~ ~ ::: ~ ::: ~ ::: u ::: ::: ~ .v_ .v_ .". .".. .-. ::: ::: ::: ::: !'! !'! !'! !'! .:; '~" ~ ',." ._. ._ . ft. ;:. ;:. ;:. ;:. ;:. ;,. ;,. ;,. ;. ;, "~ "~ u _
-v v :'. ::: ::: v '! ::: ~ ~ ~ ~ .,.. .... .... .... " " "' "' J .
Filll B V - - -- -- -- - - -- -- --- - - - - - - -- - - --- ___ _____________ _____ _____ - ,
J n~ n ,.--......_ ,..--., "' 1\ ~ ~ I I 1 I I ~ u r I - I r I - I r r
- ... ~ ~ ... ... ' "' ..c .c ,_ - o.T I ~ ... n "' ~ ... v ..... ... - ~ "' D - ~ ~
"' ~
21
...--..... I I l
r :: ~ ... v -v
" v
r r , ..
v
> ~ ~ ~
:'.
.-. v u
> .. ~ -~ ::: .:; ;,. ::;~~
v v
-
22
Dsus D
,... ~ 2 ,!5'\.,,..---....... .
tJ =' ~ ' I"" I"" !""'......___..,
-"' "' ::::: ~ ~ ~ ~ ~ ~ .. ~ .. -..... .. -..... .. -..... .. -..... ~-..... .. -:.
A A ~ ~- ~ ~- :..: "'- -~ ,~ ..... .-..... .~ .. -; - .... .... .. .. .. . -
D Dsus -" l"l ~ 2 .
t) > = = =' D ~ ..... ::::: ::::: ::::: ::::: ! .. ":- .. w: . ...... .. -... .. -...
11 / - - ~ :..-.... .. -:. -~ .. -:. --- -~ ..,_ g - -- -To Codal.
D D7
'\ ~ ~ pi:\ r---
ff'
"' "' ~ ~ .. -:. .-: ~ :..: .. :..: .. -:. .. -; .
~ I""
::::: ..-... .. -... ~ ~ _ ... _ _ ... _ - -
Dsus2 - .8" ~ ,_... jif' -- > ;.~ >
"' "' "' "' "' "' "' ~ ~ ~ ~ ~ ~ ~ ~ ::::: .--...~ ~ .t"~ ::::: ~~ ::::: ::::: ::::: ::::: ::::: ::::: v
. _..
::::: ::::: ::::: ::::: ::::: ::::: ::::: .., .., .. .. .. .., .., _... D Dsus2
. ff".~. ff' . ...___... I"" I"" -::::: ::::: .. -... . -:: ~-... ~
..... A .., _ -~ - -
.. . .
::::: .. -:. A _ ... _
07sus *ID i
::::: ::::: .. -:. ~ A ... A .". _ ... _
i m m v ,., v 1"'1 v ** t\ ~
::::: ::::: "! ~ -
-
::::: ::: "! ~ -
I i 1"'1 v
/
t. > .....:::::; ............... ...... ....... _w -.....
I
11 .... c
1'\ ~
tJ
..... I
11 .... c
'
,... ~
tJ
..... I
11 .... ..., '
::::: ,........,_:::::
::::: ::: ..,
06 m v .. \ -
r ~
";
~ ... ... v
07sus .. *"' l\ .,
r ... ... ~ :: :: :: ::::: ::::: -
::::: ::::: ::::: ::: ..,
i 1"'1
~
":
~
~
... :: :: :: -
Birmingham Steel - 7 - 3 06648
::::: r--- ::::: v :::::
i. .,
m 1"'1
---r ~
":
~
"' v
--r ... ...
-~- ;: :: ;; ::::: "! - v ... v
... ;: ;; "! v
i 1"'1
"' ~ :: ;. ::
i v
"' ~ :! ;. ::
,....--
... ... "!!
.. ::: ": ":
~ ~ - -
.. -
r ;: ;; "! v
-
"' "' ~ ~ :: :: ::::: ::::: ;: ;: .., ..,
09 simile
'-
r ... ... ::: ::: "!! "!! :; :; ::::: v
06
1'\
... ::::: ::::: ": ":
- -
---r ::::: ... ..... -
"' "' ~ ~ :: :: ::::: ::::: ;: ;: .., ..,
... ... ::: ::: "!! "!! :; :; - v
::::: ... .... -
"' ~ :: ::::: ;;. ..,
---r ... ::: "!! :; -... v
1. 09
-r ... v
v
.A
~ ~ ~
;;: :: ;;: ::::: ::::: ;: ;: ;: .., .., ..,
... "' "!! "!! "!! "!! :; :; v -
... v ...
v
"' ...
r --r "' "' "' ~ ~ ~ ~ ~ ;;: ;;: . ;;: ;;: ;;: ;;: ;;: ;:: ;:: . ::::: ::::: ::::: ::::: ::::: ::::: ::::: .., .., .., .., ...
v
v
Position R.H. over soundhole and strum upstemmed notes w/index (i) and middle (m) fingers as indicated (next 6 bars). Play downstemmed notes w/thumb.
"""Unison Don 1st and 2nd strings. 06 -.. '\
- -
r --r ... ... ... "' "!! ::: "!! "!! "!! "!! "!! ": ": ": ": ": :; ~ ~ ~ ~ ~ . v - - -- ...
v
- .. d .. d - r - r r - r -r r harm. harm.
, ... ::; ~ ~ .... ..
"' ... "' v v v "' "' v v v
v
- v
.
-
23
2.
G9 ....--... ....--... - I I I l I I I l -~----------------~
I I I I I l
... I
A~
'-
'T' ! l1
_iooi g
r v
G7
. . I
mp
. . v
II
. I
"" v
v
"" v
-
"" v
r I r
v
~
~= I -r CJ.T '--"'
v ~"" v
v
v
v -"--"' *Hammer on w/thumb over neck.
'I I r
.. v "" .. v "" v v
- I I r l . II
"" " >.. v .. v ,. "" v v v
To Codal! -$-
r r r r 1 r r r 1 decresc. ~-------- --- ---- - - -~
"" "' v "" v V \ V / ft v v
v v v v
v v
v
G6 - I - I I I 1 ~
r r -- r - r . -- r tF :::::_...; ,. " v v v .. v "" "" ,. A v v v v - - - -
v
- .,. l.
E~/G G fl ~ - I r-"i" I 1/ -... J I I J L J
'- 'f r ~ r - , r r
~
r - .{ ,. D. v v ... ~ v
v -12.-------------------~
I ,...--;
~ "' I I I I l I -~ tJ r - r -r - r -r
:: :: : : :: ::: :: :: : : : :: :j_ ~ ... - -I v
l1 ... ... ... v ... c v ,. v
.... v Coda I D7 ,; fl ~
tJ = ......................... ...
I
l1 -.... u
' v Birmingham Steel - 7 - 4 0664B
"" ~ ~
~
~
"" "" -"" ,.
~ ~ ~ ~ ~ ~
~ ~ ~ ~ ~ ~
~ ~ ~ ~ ~ ~
:: :: :: :: :: :: - ...
. . - r - r - r - r - r - r - r -- -r r r I
~--------------------~
>.. "' v ,. ...
"' v ~ v \ V , ""
. v ... v ~ ""
v . v v v v v
v v
v v -D.S. ~ al Coda I
J ...---...: r- 11 n I I l -.......: r r ~ - r -r mf ~ ~ ... ~
v ;. ,( :-... ' v \ V , ... .... ov
"' ... ,. v " ,. v
v
v
Gm Gm~
I. .. ~nrrmi i a . . - -
*F - r -- -r r ~~ ~~ ~ ~~ ~ ~ ~ ~ :::: :::: ::: :::: :::: ::: . ~ ~ ~ ~ ~~ ~~ ~~ ~ :~ :-: :-: :-: . - - - - - v ' V ...
v ... "" *Strum as before.
v v
-
24 Gm Gsus2 Gm
fl .. ~n~~i 1 n ~ndr ~
tJ - - -r - r -r ,.,. .. ,.,. ,.,. "I ~~ :~ ' ~ :~ :~ :~ ~~ :~
::: :: '':: ~-:: :~ ~ ~~ :": L - ,_ r ... I,;; v v
v
l. Gwa Gm
fl i i [l ~ d. 1\ ~ u - -r -r
l P p lP p l P ,. ~ ~ ~ :;; ~~ :~ ~ !": !": ! ": !": !~ ll ... t;;ll
,2. GS * *
1\ } ~ ~ ! r. .. .J tJ - c.. - - r r - r -f
:;; ,;;; :~ :~ ""' -- -- -v v v
~ v v
v
*D ownstroke w/nails..
Gm
~ } .c.
~ - c.. -r --f ,. ; I ~
4 ~ .... v t;;ll v
Gm7
1\ --"' J . . tJ -r r ,. ...
I . ll . v ... v t;;ll v
Birmingham Steel - 7 - 5 0664B
v
.. .. I - r r ; ~ ~
v v
v
"' j) I h--11 - r -- r -r ... ... ~ v
v
v
-
-
r ~:;:
:~ -v
~]11 ---r
... '"
-
~ ~ 1 ---r
" .. ...
"
FIG
~
r --r ... ... .::: ~ v v -
v
"
- - -- r -- -r r ,.,. ,.,. .. ,.,. ,.,. ,.,. ,.,. .. ,.,. .. ,., !~ :~ :~ ~~ :~ !~ !~ !~ !~ !~ !~
!": :": :": !": :-:: ~~ :~ :-:: ~-:: :-:: ~-:: - ,_ - - ' V - ' V ... v ...
v v
f1BL .. ' A ~ ~~ . . - - -- r -r -r ... -~ ',.." ; ; ; ~ - -.:~ .... _ ~ ~ ~ ~ - - '" .
-"
G7 sus
.thj)J ]l } ~ ~ .. J j)
r - c.. - - r - r r - r -r -r ... '"' ... - ... '" .... _ .... _ " - ~- -" '" v v v v v -v - ...
"
Gsus~
~ } -6 .. ~ l ~ ~ .. ,..-_ r - c.. - - r - r r - r -- -r r
~ ~ '9
~;,. ;,. _ ... '9
~ ~ v v . ~ ~ v ----v v v - -... v v
Gm FIG
. ~,....--....."' J "' ]) I J)__j) J ... J. ... ,...._
. . r - r - r - r - r r - r --r r
~ ~ ~ ~ ;; .( ~ - - :. -- v v v - ' "'
v - v - v " ...
v v
-
Gm
fl /""' ~
t.J - r - r - r - r - r - r r - r - r -- -r r r T ft ft ft ! ),. ft . ft ft ,.. A v ft ... . .,. ... "" ... ... .Ll / ... ':! ... ':! . ~ ... ':! .., ':! ':!
-.... v v v v v v .., v v v
2.
~ I I I I I I I I I I I I I I I I J J J II JJJ ~
t. - r - r - r - r - r - r r - r - r -- - -r r r ~
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09
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~I kJ I - 'I -r -r ~ ~
~ "}. ., " .,
v -
- I
i i p i p
~ " ., " v v . ..,
35
I ,...--......
..J J J l I I } ., ._ - - - - - - - -- - - - - - - -r r r r r r r. r r
r- ----~
... ., :;;: ---" - . >;;:, ,......::: _;:_ ~ "" .., . ., - v - u v
- - - - " " D.S. ~al Coda
p p p p p
I I I 1.-........ ,...---..... .u if
- - -,; ., ., .., .., .:. ,. ., - v - v ~ ,. - - ... " -
Fdim!E Edirn D irn/E E7 9 ......--- ......---L. .].,...--...... I bJ .t.U\ J I , I.
,...--...... C1 h J ) I l } I .. }, .
- - I -r - r -r r strum w/nails -"'-
r .r... ~ "' ~ ,. ~ ;_ v "' "' v :: v v v - " - v A v ..
A
1/4
- 1 -., q* ~
i i p p i p i p i strum wlthumbpick '14
-~ ... - :: - ~ - "' " ~ . - v ... _..... ., ..
-
36
.....
,., ~
Timing: CALEB'S REPORT = D = G @ = G = B @ = D CD= E
Moderately bright, in 2 J = 108 G
J--J DIG
J. J G
J
Composed by DOYLE DYKES
r r r r r r r r r r r r wlthumbpick ana fingers
... I
ll -... D
J
harm. ---- ----------------- -------- ------ ------ ---- ---- ------- -- ---------- -- ----- --- ----------~M. - - -- - - - - - ------- - - ---- - - ---- - --- -- ---------- - - - - ---~-- -- - ------------- - - -------- ---------
,..,. - --- ~ ~ ~ v ... ... v v
A A v v v v
*P.M. applies to downs tern notes only.
)h) J J J ~. r r r r r r
(harm.) ------------------------------------------------------~ (P.M.) --------- - - - - - -- -- - - ----------- ------ ----- ------ --------- ---- ------ ~
r ... I ll .... g
~ ~
T
... I
D
. ... . ... .... . ... .... v -- -v v v -,
DIG G
J )hl J-J J. J )hl J .g.
r r r r r r r r r r r r harm.--------- -- -- --- -------------- ------- ------------------- ------ ---------------- ------- ----- --- -----P.M. -- ------ --- --- -- -- - --- -------- ---- -- -- -- -- -- ------------ - --- ------ ---- -- -------- -- -- --- - - -- - -------
- '" .... -v v ~ u v v ~ ~
v ~
J- o
:: :: -
;;:; -v u ~
v v
Caleb's Report - 6 - 1 0664B
1989 Heavenbound Music (BMI) All Rights Reserved
-
1'1 ~
u
T I
il .... ...,
1\ ~
t)
T I
il -... g
'
-'. . ,.. 1.1
t)
... ~ fl ...... ~
./'11.1
t.
T I
il -... g
; ~ 1.1
t.
T I
4 ... g
d .. ~~ .. ..----...._. . . -
*j - r r '"' w .
.~ . - .., w ..
w
*4th time without bass notes (1st 13/4 bars only).
G
d .. ~~ J....----J -- - -
i - r -r
w -~ . w
A A .. v A ..
J-~.flJ -r - r -r w
~ -~ ~ ;: .:.
~ .... .. .. w
J~DJ -r - r --r .. ~
::: .... ~ ...,; .. ..
. ft ..
C D7 BV ---- --- -------------. l/2BV -- - -----------,
h I ~n1 )
r ~ ...
-C(2) BV
I
r :;
.. ~. ..,
I - I -r --r - -~ ... .., ..,
- w G6
----- ---------------------,
I I I J A -I I
-~ - :::
~ ~ .. ...
I )1_) J.
r - r --r ...
~ ... .. v w
D9
}. .. }. - I
-
38
N.C.(G) (F) (G)
.,. ~ ~ Q /~ .. .. ~ # L .. .J I I l I I .J I ~))'I ~ ~ I . t. u r 'I r - -- i r ....--... .... v v v v v v v v I - v v v v v v - - v -il v - ... ... ..... ... ... ... v c v v
' v
c s v -------------------------------------- --------- ------ ------ -- --- --- -------------------- ---,
J fJ lol I ~~ - ~ n ~ Q---:l J .. )J t\ I ) . . .
4t) r I - I r I - I r I - I r I - i r r r r ft ~ ~.....--...~ ~ ~ ~ ..,.
~
v ... ~
... ... !_ ... ! ... ... ~ ~ ~ il v ~ v p v ~ ... ..... - - - - ~ ... ~ ... v .., - p ~ .., .,. ... .., ... v v
N.C.(G7) ....--... ....--...
fl lol _ J~ J 11 J I J ....--...
1 J I ~J J I J l inn .rB,........ I I I I 4t) - - - - - .
u u u u
...-;. ..r'p ~ ~ ft :--.... ... ... ..,. - ~ v .., v " v v " ... v " v ~ v v v ~
v v v v v v v v v v v
4 v "' ... " ..... v - v .., v
c BV -- - ----- ----------------------------- - - - - -- -- -- - - -------- -- --- - - - - - - - - - - - - - - - ------ -- -- - - ,
J J j I ~ . F h. n-- J. )hj I _ I ~ I ) .,. h ~ ) - . . . ~ /r I - I r I I r I I r I ~ r r r r
.......-- .......--p ..,. - - - ;: ft .,.
I - ... ~ ~ il ::: ~ ~ .,. v ~ -..... ~ .., ... .,. ... v v - p - ... c .., ... v v p
.... v v ..,
A7 D BIT ------ - -- ------------ ------------ - ------------,
"' fl ~ ) Ii--I I ~ ~ I ~ h-1 I I 1--- ~ I
t.) -r ....
I ;;;; 4 ~ -.... v c -
' Caleb's Report - 6 - 3 0664B
--
r ~ -
-
. I I r -r
~ "' A ... ... .;:: ~ - -- v -
. . r i r r r r - -- -r r ,.--...,
v '! -v ::: ;:: - - :: ... -- - v v v -v v
-
39
A7 D an ------- ------- ------------ --- ---------- --------- ----- ,
r--'1 I ~ I I_ 11 ~ I I tJ - - I - I - r - P'-r r - r - -r r - harm. r ... ,( ;.. p ~ .. ... :ft :; -I ... ... ... .., _ _X ~ ... v v _.... v !. ll ... . . . . . -""'
.., v - - -c ' .. ' ...
G
1'1 ~ ~ I .. I_ ~ \ 1 I ~ ~ 1 l I . . . . . . . tJ - - - r - r - r r - - r - r -- -& - --& r r ... ft / P .. .... ft I v ;. ,. ~ "'"".: ~ ..A .~ -~ ;; ll ... .. ~ ,. .., v - v v ""'
v v v .. .. ~ v v
v v
D.S. ~al Coda I D
J ~ I I J I O~.h _J: J ---.; '\ ~ I ,......., ---. . ~ - r--r r r--r r--r r --
i' .... .1> _ .. .r ft _..... ... A .. p ~ r ~ ~ ~ u _
I v ... '!. v '!. - - v ... ll ... v . .., v ""'
.. v v v v ~
Codal Am? 07 B VII - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ., 5/6B Vll - - - - - - - - - - - - - - - - - - - - .. ~ A ... ~ n~.J I I J--"".J I I .J~.J I I .J .. ~ n-n I
t. - r - p _ _A r harm. r r --r ...
I .. v v v v v -ll '"' Oft Oft ""'
ov .... .... ov IV IU c - " .. ._ ~ v
Am? ----- -------------- --- -, B Vll - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -,
J 1----.J ~.J .
.. ~ j I n ----.J I I I I J ~ - I r I - r ~-/r r . - r -r ... A . ft _..
"T u - .. v v u 4 OA OA I '" -...;: ... ... ov IV ov ... ~ - "),
v
Caleb's Report - 6 - 4 0664B
-
40 D7 5/6BVll --- - - -- - - -- --- --- ------- - - ----------- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Am7
~ - -,
,.., u ~ n~ J n~J I I I I J~ u r I T I - - r ~___./r r -r ... ~ ~ I v u v u
ll - -.... rv I V IV "' I V -D v v
D7 516B VII - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ------.
1\ u~J I I J_J I TJ ~ ~ ~---J' P~r --r ...
I v
ll .... - '"' --.:J y ~ -..... - .. D~ GID
) & I I i 1\ u .. u r r - -r r
ft -.... u I ~ ft ~ -ll u -, -.... v v ~
v
~ Coda II
Em7
l'l u ~ ~
u ~ r ~ r ... ':!
I ':! ll -v :::: -.... D
'
D7 c
"' u )I I )h) J. I
" r I r - -r r ... .. I -n ... -.... v
D v
Caleb's Report - 6 - 5 0664B
~ " I -v .. -
~ n'"JI I ~ . j r I r I --r
u v
v v ~ ,v -ft
v
D7 G
J. ~~ . J -J . ..--.. . r r - r -r
~ - - -... >T ' ~ ~ . ... '
v v
v
c
I ,..--....
~ I I I l
r T r I r -:: ~ ~ >T
I - ... ... v
...
I I I ~1
T 1 r r ~ r -v
~
- .. ~ - ... - '! "'
~ .. ..
Am7 BVII
J -r v
-
I
~
---------------- --. n-.n i
r v ,_ ,_
rv rv ft
"
D S r;s al Coda II ..
j ~
harm. - - - - - - - - - - -~
-1.
--...
I lhn 1 I - I r
-u p .. -- ...
v ... --..-
D7
)I I ~ ~ J.
r r - --- -r r .. -... I .. v
v v
-
41
G G DIG
I .J J~J J . J A . -I\ ~ 1"'. .. - - - -
~ ~ ~ r - r -r ~ r - r - r -- -harm. ----------~ r r r harm. ----------------------------------- --- ---------- --- --- -----P.M. ---------------------------------- ------------- ---------- ---
_"I" .. "" '"" I .... .., ""
.., .n - .... A ft .., -... - v v u w - v v v
' w w v
G
JJ-J J--J j
., r r r r r r r I r I {harm.) ---------------------------- -- ----- -------- ---- -- ------------ ~ r (P.M.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ... -
I - - -.n -.... w w .... -g v
A v
ft v .. ...
"" ' v v v v ...
DIG G
J )h1 J--J J J )--_1 J I\ ~ ~ r r r r r r r r r r r r rit.
harm. -------------------------------- -- --- ------ ------------------------------- --------- ----------------P.M.-------------------- - - - - - - - ------- - - - ------------------------------ - - -- - --- - - - - --- - -- ---- - - - - - - - ~ ---
T' .., I - -.n -.... w ...,
"" v
v v v
-w d
r r r r u ~i.~))_::::::::::::::::::::::::::: : ::: : : : ::::: : ::::::::::::::::::: ~
"" I : ::: ' c:: -.n :::: ..
I
g v v v - v *Refers to harmonics only. Caleb's Report - 6 - 6 0664B
w w
v
.... -v
.A v
-
42
Timing: CELTIC COWBOY = D @=G = G @ = A @= D
-
43 C7 Subst. w/Fill 2, 3rd tim e BV --- ------ ----------------------- - - - ------------------- - - - ----------------------- ----- - - -- - -------, rr ~ ~
1\ ~ 'l> b J 1 r 1 tJ r I - I ,---]
- - - -p p i .. .. .. .. -
Subst. w/Fill 1, 2nd time G7
~.J ~
fl ~ 'l> I 'I I I l
tJ
r r - r -r .........----_
'I" - - - -11 "' "'
v ... v v ~ -
Fill l
~~ ~ ~.r . J:J ~ tJ - r - r r --r
"" "" ... :: ;;: :: ! v "'
v . A
v
ll v v -~ - -u -
Fill2
1\ ~ I .. Q P .. tJ I ...__.,
'---'
1n ~h .. rl ...
I
ll ... c
... I
ll
'
~ - ~ ., ,.,, --___.}'-- ---, ~I I
r r r hold --- ~ I j- ----;.
. - v
v A v
Celtic Cowboy 10 2 0664B
_.,_
r
J ~ ~
I ~ I I I I I ~ l' r ,...--.,
~ I I I ~ I I I I
r I - I r I - I r I - I r r r - ~ '" ~ - '" ~ -- - - - - - -
p p - p - p p - p .. .. .. .. .. .. .. .. .. - - -__;-----, __)
I ~I l,...--..... ~- -- ---~----- --~ ~
il~ I I I l .
r r r r r - r r r - r -r f r r hold --- -~ hold ---- - ~ ) }------, I j-------~ - - ...... ... - " ' A v . , v \ V / "" "' v v . A "' - v - - - -- - -- - -
~- ~i J .. rl ~.r ~ J ~.r .. l:J - r r r r - r - r r r - r r r r .
"" .... .... .... :: ;;: : :: "! "! .A .
v A
v .c '" v v v -
v v - .. - - -- - - - - -- - ft v v
G7
P .. ~ R ~.R\1 ~ .. 'l> I I l I I I - r - r r -'---' '---' -r 1n 1n
.. I\ .. D _,. ..-----...... ~ - ~ ":!. - - -., ,., J ., \ " 1 - - -- - - - "" "' v v
"' v -
I I I '---""
If\ v
"' v
-
44 D7 C7
BV1I --------------- -- -- -- -- --------- - ---- - --- - - ---, BTII------- ---- -----------------------------------,
J 1 17l'l J ,..--...._
D"l ~ u - J I. J uJ I I ~ .J~ l _LI l I u r I I r I - I r I - I r I - I r r r r I ,. v
" " ~ - - ... ~ ~ " .. ~ v ~ ~ p l1 ~ ~ ~ ~ .,. .,. ... .,. ... .,. ..... . .
"" ... ...
"" ... ...
~ . ... ... ... ... Bb7 BIII ------------------------------------------ -------- --------------- -- ---- - --------- -- - -------- - ----,
~ u J. }hj ~ J. )hj -~ I 1. 1-" 1--J. )... )... I )... I L J~ ]__._ J. )... )... I )... - . . . . u r 'I - I r 'I - I r 'I - I r 'I - I q- qr qr q-r r ... ~ ~ ":" ~ ~ -:r I - ... - - ... -.n - - - - ft ft ..... "' ... ... "' ... ... ft .. .. "' .. .. c ... "' .. "' .. "' .. "' ' .. .. .. ..
C7 To Coda. Csus2 C~sus2 B V - -- --- -- - ------- --- ----- ---- ---- -- - --- - -- -- --- -- --- --- -- -- -- --- - -- -- --- - -- --- -- - ---- - --- , B V1
~ u ~~. ~~1 I j~J~J t-._ t-._ I t\ ~~. ~~1 I j~J~J t\ r: ~ ... . . . u r I - I r I - I r I - I r I r Ar r r r strum - -- -- - - -
~ .,. 'T" :::: ;,.. ~ ~ ! .. v v Ll ... -... ... ... ... ~ ... -
v
Dsus2 BVII ------------------- - ---- - -1
> ,.., u -&
u r >
-- --- i
,. I
.n .;, .... .;, ~
'
Dsus
; fl u I ~I
~ ---_-&
I
ft ~ ,. v 'J., " I "' -
Ll -... ...,
"' Celtic Cowboy -10-3 0664B
>
J r ~
.:.
.;, ..
----&
-
.,. ... ... ...
...
---r
-
v
" ~ ~ ~ ... -... -
I
..... --&
" -" v
"" ~r -... ...
...
-s:ti. ~
---&
... v
-D
!:_) ... .Q. - -- -
----&
~ ~
~ :: :: :: ...
v
harm. - - - - - - -- - - - -- - -- -- - - i
J ,.;,
:. \ .!. .
* Bend stnng behmd nut.
1.
), \ I
---&
I
""' - .-. -v
J
. .
. .
-
45
2. Gm
1\ JJ\ ---- -; -- --- -- -------- --------------,
~I - 'I ~ri I ri I ri ) I 0 l ri
u - -_-e. r -r r r hold -- --- - - -- -- - ----- - ---- ------------i
I I
\ jl - ---------------------- - - --- - - --- -- -- . "" -- " " .... - v v v v v v v v v v I .,, -v \ V \ V } v
.n v .... v u
"' v *Strum upstemmed notes w/index fingernail (next 3 1/4 bars).
C7 Gm6 BV - --- - - ---- - - - -- - - - --- -
I 11 I 11 I ,....-=:::,
h J fl I ~ I I I I ~ ~ ... ~f':1 ~ ~ ~
~ -t.. I T p__;r . - r r ,r - r r I - I - - r r r
" ~ ... v v v v .r ~ ..., I ..,
4 v - ~ ;.. v v v .., ..., -... --.:r "- - "- v v ~ - ..., ~ v -
Gm ----------- ------------ , fl I rl )h)l I ) *n I ri I ri I n I n I n . ......... -
u r I 1 VJI I I I T I r " - - " - - " -.... ..., ~ .... v v - v- v - v v v v v v v " I .., v v ~
4 v "- .., -..... ~ ~
..., -- ,J *Strum as before (next 3 3/4 bars).
Gm6 C7
, I'} I I 11 I n I ~ I I I I ~ ~ BV - - - ------------- - -- - --
~ ~ f.1 h J ~ ~ ~
~ ~
u I I ~__;r . T r ,r - r r I - I - -- - r r r - - - -.... v v -..- v v ~ I - - - - ..., ~ .n v v v- v - -.,- ft ..., .... .... v "- ' - "- v v c v ..,
' v v
B~m7 - --- - -- -- - - - -- - I B III - - -- - - --- -- - - - -- - - -- - - - - - - -- -- - - - -- - - - -
~J ]1_:-j --- -- ----- - ----- ---- --------- - -- - ----- - ---
1\ I K:--1 ! I 1.. 1.. I 1.. I *ri r T I 1-.,J n~J n~ ~
~ . u r I I r I T r - -r -=- I r - -r r
" - " .. " " ... .c ~ ..., ~/ . .., --z ~v .., .... ..., I v .. .., v
4 - - ..., .., v .... .... .... .... u -..,.- " v ~ ..., .... - -..., .... ... Celtic Cowboy - 10 - 4 *Strum as before (next 2 3/4 bars). 0664B
-
46
, fl J
tJ
....... I
.Ll .... IJ
'1 I
~
....... I
4 .... g
'
, 'l I
~
....... I
n .... IJ
fl I
tJ
'r
B. .... ~
"l ~
~
....... I
.Ll .... g
8~6 ~ ------- --- ---- -- -------------- -- --- ----- ---------------- ----- ----------, BVIn --------------------- -_ j n 1 n I il l J I I I il l ~ ... ~ 1 h JiJ_) h - - -
I I 'I - I r I I r r -r r .. .. . . .. . ~ ; , ... ~ -..- .... .. ~ .. .. .. ...
... ... .. .. ... ... ... ... ..
8~ -------------- ---- ------, Bill ----- --- ----- -------------- -- --------- ------------- ---- ------- --- --- ----;_; .tJb.J J ~ n _J n ___ J n _J n ___ J n_J n~ .
r r r~ t' .. - - .. .. .. - - " " :: ;-,. ., - ~ ;,--.:T --.:T ... - .. .. - - J " .. .. ... .... IV --oJ "" .. ., " .,.. y ..
... ...
Strum as before (next 3 3/4 bars).
B~m6 E~7 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -, 8 VIII - - - - -,.:;..::; - - - --1------_ j n _J n __ J r---, 1 J I I I il I ~ ... h J;J_; h
I I ~I
.. .. ... ... - ~ ., .. ..
- -------- ---~~---------
~ J.
r r -:: ;-,. .. ,_ ., , ... ,.,
... ...
Dsus4
I 1\,
- -~-& -&
I
f""\ - . ;. , , v -~ ., .,
.
.LI
Cl
v
---r
...
.. .. Dsus2 BVII
> -&
r >
-I r I - I T r -r
... ~ -... - .. - - .. - -..- ... ... - .. ' .. -... -..-.. ., -- ----------- ---, >
J ~~ ... ~ ----
r ~ - - -- - -- - -& r -& harm. -- --- ------- -i I
... ) ' ,. f ) {
v
I j, ~ I I. I
.... - --.----& -&
I .. ) -.... ... ,.- ... v , ...
v
-Celtic Cowboy- 10- S 0664B
-
47
G5
II I ! *ii ii ~ ii ii ~ ii ~ ri I ri - - .--.. ~ . . . . . -tJ
~ r T._., I I I
-" v v " .( ~ v " - " v v ~ v -;p .(" -v ~ ~ --. . ~ ~
--z[ . ~ "" ::: c v
"' Strum as be fore.
rl.
II I I ri ri ! ri I ri ! ri I ri ~ ii I ri - - - - . . tJ I I I I r r
ft - --v " - - -v --v v .
ft -v
ft v
-" " .:. --.- "' -v " v ., T ~ ';' 7\- ::: . -:...:: " " -n
"'
f2. II I ~ ri l 11 ! ri l ri ! ri l ri ! ri l ri ut_ - - - -
tJ I I I I I l v " v v " v v v " ft v
::: :: :::
-;p :::
,:: ::: "'
T ,:: - -ol
""1i ol -z "'D"
""
1/4 _) 0 5
I 11 ri I m J I ii I ri '}. ii '}. I ~ }, ---"lll'\' . . . . V__.;l r _ u v__.~l r 1/4 tJ rr r _) .....----.... ft ft ft ft
-;p " v " " v " " 01 " .,
" ,- . y ;' ~ --z[ . v - " "' " v
" "" .( ~ "' -a- ~ " v "
l\)5 ,........_ ,...--.... ri l r1 ri l L. J I I I f r I '}. II ~ \. ~ ~ . . . .- 1.1
~ - r;; v.. . .-~ 1 r _..., I -t) - r ~-rft ...-----..... .---.. ft -ft ...... " " v " " ., ... " - " .(" ~ --. ,! ., .. "' " ... - .( .
7[ " "' " " - " ~ .":, . .... ~ ,_.,. "'D" ~
v
Celtic Cowboy - 10 6 0664B
-
48
D.S. ~ al Coda ......--..,
~ 1\ .r.l L j l I 1 I r _....-..._ ......--.., * ----u - - - - .. ., .. .,~ .. .,-:J. --
-& -~ ... r--
'9" .. .. " .. ... " ,.( "' ~ I .. .. ... "' " ,( ;. .G " ... " .. "' " .. .. "' ~ "' .... .. .. " .. " .. "' " .. IJ "' ~ .. .. ' " *Begm alternate ptcking w/thumb & m1ddle finger . Coda (BV) ----------------., Bb7 Bill --- ---------------------------------------------------------
* 1\.r.I-.J n ~ j)_....j ,....--...._
~.n,-... J ~ ~ I L J ... _,_ L-.J n ....--.._ . . tJ r I r r r 'I - I r ~_.~r qr
., ... ., .. .. .. .. '9" ~ '! ~ -::_....-..._., r. ;: '::. ':: I .. ~ "" .. .. "" ""
.G - .. ..... p - p - .. .. ~ ... r;;J. .. "' - - -..
*Strum as before.
C7 ----------------- -- -------------------------------- , BV--------- -- ----- ----------------- ---- --- --------
,; fl .r.l~ J ~.n_ J n __ J ~.n_ J n ~~. ~~1 I J~J--J n-J n -. ~ - - . .
tJ V.-~1 I ~Jr r r I - I r ~Jr i ~ p p p p ... ;: ;: ':: ;: ;: ;: ;: ;: ;: ;. :; ~ ::; ::; :; :;
I "' "' "' "' " ., " . . B. ,( "':.. .. ., "' - .. .. .. ~ ;.. .. .. ~ .. - .. "" "" .. -
C"sus2 Dsus2 -------------- - -------- ---------------- -- - -- - ----- ---, BVI avn-- -- --------- -- --;:;.,
,; fl .~.~~J rl_ l n_ .
tJ v_..~l I
'9" I ;. ;.. ;.. ;..
4 ~ ~ .. ., "' .. ... "' .. g
~.JD ,;(\ .r.l ~~
~ + - -- -
u - -- --~-& -&
harm. - -- --- - -- - - - - - - - - - - --- - -i
"'" I t .G ) ..... { IJ
' Celtic Cowboy- 10- 7 0664B
1 ' I
I
~_..~r
~ ,_ ..
rl_ l ti ... > J -& I ~ r r ~ ---> r- -strum w!nails - --- ~
~
~ ~ :. :. ;.. ;.. :; .;, :. .. "' .. ~ !... .. '! ..
"' "
Dsus4 .
I 1'1
c;; - ---& -&
1n
1\ .. - - "'
" v
-
49
G7 ----'------- L. J .....--.... I .. .LI I ~!..---.....: . }, I I I I l /-----.1 ,....._ .
t.
.._ - - r - r - r - r - - r - r -~ - -~ r -r *P.M. throughout section
hold --- i
~ I
,......----__ }------, ... _v -- - ., ~ i.. -' I v \ V f -v ' u v ft l1 v ft v - -...... v u v
.A -v --v
-g v v -"" v v v *Refers to downstemmed notes only.
G7 _) ~ r-"1.--..... ~.J
.....--... I " II ~ ,......._ .....--... I I }, I 'I I I l ;::::;;-......1 Lr-I I
_J------,
. t.J - r - r - T - r - r - r T r r - r - r - r -- - r r r r
hold ---i hold - -- - i hold - i }
I ; ------- --~ J--- ~, j- -~ ---, -~ ... ---' -- v v - .. ' u ~ ;. A - " --I v v ,V J v \ V T ' v v u A
ll v v v ...... v v u v v v v u -o - v v " u
_) _;---- --~----- --~------:) G
II .LI-.....--...
I l I l r-, .-...._ I I I l
t.J - r - r - r - r r r r - r r - r - r - r - - r r r r hold -- i hold --- -i hold -- - -i
I I }- ---~ --~ }----- -, ) j- -----~ ~ - ---- - " - ,.: , _, -, v u v \VT v \ U / a v v ...... v v v v v v v g v v - v -v -v v v
Gsus2 G
J-~d::=:::~---ffi_-------- --- -----~------_-----_----_----_---- j
t. r r r r r r r r r r r r r r r r hann. ----------- ----- -------- ---- ----- ------ -------- --- -- ------------------------------- --- -----
hold ------ - ----------- --- ------ ---- -- ---- ~-- ------ - - ---- ---- -------- ----- --- - --- - -.. --. - .... \ I &. J \ 1&. / 71 ._ ...
-;.. v v v u v v I: v v
u v *Bend string behind nut.
Celtic Cowboy - 10 - 8 0664B
-
50
-- ~---------------~-- --- ---~------~
ft ~~ J I I I I I I I I ri--...
~ - r - .r - r - r - r - r - r - r r - r - r - r -- -r r r r (harm.) - l hold - ---- -1 (hold) - - --
