Carlos Santana Carlos Santana

CARLOS SANTANA TEACHES THE ART AND SOUL OF GUITAR

MASTERCLASS CARLOS SANTANA

CHAPTER 01 INTRODUCTION

MASTERCLASS CHAPTER 01 INTRODUCTION CARLOS SANTANA

CARLOS SANTANA

Carlos Santana was born on July 20, First discovered by the famed concert English guitarist John McLaughlin to 1947 in Autlán de Navarro in the state of promoter Bill Graham in 1966, Carlos explore eastern spirituality, and collabo- Jalisco, located in west-central Mexico. became a regular on the blues, rock, and rating with jazz artists to push his sound His father was a mariachi musician who fusion scene. Within three years, Carlos toward fusion. The music of Africa, the taught Carlos music from a young age, and his eponymous band had gone from Middle East, the Caribbean, and the starting with violin and then later guitar. being a high school act to performing Iberian Peninsula have all factored into In Carlos’s youth, the family moved to at Woodstock in 1969. One year later, Carlos’s subsequent recordings, but these Tijuana and eventually to the United they hit #1 on the Billboard charts with myriad influences filter into a single sound States, settling in San Francisco. Abraxas, featuring seminal hits “Oye that is uniquely Santana. Como Va” and “Black Magic Woman/ From an early age, Carlos was inspired by Gypsy Queen.” It was around this time Carlos has maintained a dynamic pres- the guitarists of North America’s nascent that Carlos achieved legendary status as a ence across multiple genres since his early rock ’n’ roll scene. From Tijuana influenc- guitarist—one he has not relinquished to ‘70s breakout, with his biggest commer- es to the Chicano rock music of Ritchie this day. cial success coming via the 30x platinum Valens to the blues mastery of John Lee (worldwide) selling album Supernatural, Hooker and B.B. King, Carlos quickly Rather than coast on the music that released in 1999. Now, over 50 years found music he personally bonded with. made him famous, Santana spent much after the debut of the Santana Blues Band But it was San Francisco, and its thriving of the 1970s and 1980s exploring new (which was later shortened to simply blues and jam scenes, that would give forms, traveling the world to learn new Santana), Carlos continues to reign as one Carlos his launchpad. rhythmic concepts, dueting with the of rock’s most prominent guitarists.

MASTERCLASS • 3 CHAPTER 01 INTRODUCTION CARLOS SANTANA

DISCOGRAPHY

Carlos has spent the past five decades deeply immersed in music and has released dozens of recorded albums. To get you started on your Santana listening journey, here are some essentials:

Santana (1969) Caravanserai (1972) Zebop! (1981)

Carlos upended the San Francisco jam Continuing their streak, Santana released The 1980s saw some bands abandon scene with his band’s debut recording. their fourth album in as many years. This their core sound for a wall of synthesizers, Whereas established SF rock improvisers one pushed deeper into jazz fusion rather but Santana held true to the Latin-tinged like the Grateful Dead had drawn than the hits of the earlier recordings. rock that had made them famous. The heavily from folk and country, Santana After parting ways with the original line record features the hit single “Winning,” introduced Latin, European, and Indian up, the new band took more risks, and originally by the British singer Russ influences to the mix, creating a sound was accordingly rewarded. Clive Davis Ballard. that was uniquely their own. called the album “career suicide,” but Caravanserai remains an important work, Supernatural (1999) Abraxas (1970) and a favorite amongst Santana fans. Although Carlos broke out in the 1970s, One year after their recorded debut, Love Devotion Surrender (1973) his commercial peak actually came with Santana became stars with this record. this 1999 record of all-star tracks, which It features two of the band’s all-time This record is notable because it pairs was eventually certified Diamond by the classics, “Black Magic Woman/Gypsy Carlos with English guitar virtuoso John RIAA (meaning it sold over 15 million Queen” (a mash-up of original songs by McLaughlin. Like Carlos, McLaughlin is copies). Billboard ranked the single Peter Green and Gábor Szabó) and “Oye a deeply spiritual individual—famous for “Smooth,” with Rob Thomas on vocals Como Va” by the acclaimed Tito Puente. blending slow, meditative breathing with and Carlos on lead guitar, as the second Abraxas is the record that defined speed-of-light guitar shredding. most successful song of all time, behind Santana for a generation. Chubby Checker’s “The Twist.” Lotus (1974) Santana III (1971) The Power of Peace (2017) A band like Santana is made to be heard The follow up to Abraxas, Santana III was live, and this two-disc set, recorded live in Carlos continues to produce vital music critically acclaimed and reached #1 on Japan, opens that door. It’s the next best up through the present day, and 2017’s the charts. The album also introduced thing to being there in person. The Power of Peace is one such example. 17-year-old guitarist Neal Schon, who Recorded in collaboration with The Isley would later go on to form the band Brothers, the record is an incredible jour- Journey. ney through some of the immortal soul, funk, blues, rock, jazz, and pop songs that inspired these groundbreaking artists.

MASTERCLASS • 4 CHAPTER 01 INTRODUCTION CARLOS SANTANA

Electric Guitar Workbook Exclusive: Tablature CARLOS SANTANA This workbook includes two types of tablature to help you deepen your musical experience with the class. The Chapter Tablature offers transcriptions of the music Carlos improvises exclusively in this class. The Practice Pieces are custom-designed for1.01 you to practiceOpening the specific kinds of Solomusic Carlos discusses in the class. (MasterClass)

Chapter Tab 1.1 Appears at 0:42 in video lesson

Free Tempo

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14 14 14 14 14 12 12 15 13 15 15 17 15 17 15 17 15 17 15 17 ¢⁄ MASTERCLASS • 5

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MASTERCLASS • 6

10.01 Opening Solo TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

CHAPTER 02 PRACTICE AS MUSICAL OFFERING

MASTERCLASS CARLOS SANTANA

CHAPTER 02 PRACTICE AS MUSICAL OFFERING

“Breathing is mainly part of accessing the invisible. If you know how to breathe correctly, you can do the incredible and the impossible.”

carlos views practice not as a likes to set a rhythm machine and explore burden, but as an offering. He encourages “You have to learn how to get out of a single key for five to ten minutes, so that you to approach it with joy. your own way.” the key gets inside him.

For Carlos, the art of performing music Carlos is a spiritual individual and his One of Carlos’s techniques for practicing begins well before you pick up your faith inspires his playing. He speaks of is to dismantle a piece of music and put instrument. Musicians have intimate allowing the Holy Ghost to enter his it back together. He first did this with relationships with their audiences; when mind when he plays, effectively guiding the James Brown song “Night Train.” He you perform for someone, you will quite his musical direction. didn’t just focus on the guitar—he broke possibly affect them in a deep, personal down and analyzed all the instruments. way. If you’re going to delve into your “The way to prepare your brain Later he did the same with Aretha audience’s emotions—and even their before you practice is to dismiss it.” Franklin’s entire Lady Soul album (1968). souls—then you owe it to them to be It stands to reason; the record came mentally prepared to perform. When practicing, it’s essential that you out right when Carlos was shaping his aren’t stuck “in your head,” over-intel- voice in the San Francisco music scene. The first step in this process is proper lectualizing choices that should come You don’t have to study an entire album breathing. But breathing is not as simple from a more emotional source. This is a to have a productive practice session. as just inhaling air. When you take that technique preached by piano great Keith Carlos spends time with a note or phrase, breath, you should also inhale trust in Jarrett and reiterated by Carlos. playing it over and over to see how many yourself and your choices as a player. The different ways he can express it goal is to force aside your inhibitions and When you do pick up your instrument, replace them with confidence that you’re spend some time getting acquainted with connected to the music and will thus it and building your confidence. Carlos make great choices.

MASTERCLASS • 8 CHAPTER 02 PRACTICE AS MUSICAL OFFERING CARLOS SANTANA

LEARN FROM THE GREATS Exercises Aretha Franklin • Great guitar players don’t just study guitar lines. They listen to every instru- If you wonder why Carlos chose to listen to Aretha Franklin’s Lady ment on a track. Do what Carlos does, Soul ad nauseam and break down every part, then you need to listen and break down an entire song—not to it as soon as possible. It’s that good. And to hear the value of just the guitar parts. You don’t have to practicing, listen to Aretha’s virtuosic vocal control on “Good to Me as transcribe anything on paper (unless I Am to You.” One isn’t born singing that way. While it takes enormous you want to), but try playing melody talent (which Franklin had in spades), it also takes discipline, repeti- and rhythmic passages from all the tion, and general hard work. instruments. In particular, studying electric bass parts can give guitarists great ideas for their own playing.

• Try teaching yourself the basslines from “What’s Going On” by Marvin Gaye and “Chain of Fools” by Aretha Franklin—but play them on guitar. Do you notice anything the bass players do that a lot of guitarists seem to overlook in their own playing?

MASTERCLASS • 9 Electric Guitar CARLOS SANTANA CHAPTER 02 PRACTICE AS MUSICAL OFFERING CARLOS SANTANA .01 Sacrifice 2 (MasterClass)

Chapter Tab 2.1 Appears at 0:08 in video lesson q = 80 ° 4 & 4 j Œ œ œ œ œ™ œ œ œ œ œ

0 0 ¢⁄ 3 0 0 2 3 0 0

Electric Guitar CARLOS SANTANA

2.02 When I Haven't Played for a While (MasterClass)

Chapter Tab 2.2 Appears at 4:12 in video lesson

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MASTERCLASS • 10

14.02 When I Haven't Played for a While Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTERElectric 02 Guitar PRACTICE AS MUSICAL OFFERING CARLOSCARLOS SANTANA SANTANA .03 One Tone 2 (MasterClass)

Chapter Tab 2.3 Appears at 5:17 in video lesson

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Electric Guitar CARLOS SANTANA .04 The Scale 2 (MasterClass) Chapter Tab 2.4 Appears at 5:27 in video lesson

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MASTERCLASS • 11

2.05 Practice with Rhythm Machine (MasterClass)

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MASTERCLASS • 12 CHAPTERElectric 02 Guitar PRACTICE AS MUSICAL OFFERING CARLOSCARLOS SANTANA SANTANA

2.06 New Melody (MasterClass)

Chapter Tab 2.6 Appears at 7:29 in video lesson

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MASTERCLASS • 13 CHAPTERElectric 02 Guitar PRACTICE AS MUSICAL OFFERING CARLOSCARLOS SANTANA SANTANA

2.07 Playing by Yourself (MasterClass)

Chapter Tab 2.7 Appears at 7:50 in video lesson

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MASTERCLASS • 14 CHAPTERElectric 02 Guitar PRACTICE AS MUSICAL OFFERING CARLOSCARLOS SANTANA SANTANA

2.08 The Same Note Differently (MasterClass)

Chapter Tab 2.8 Appears at 8:11 in video lesson

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MASTERCLASS • 15 CHAPTER 02 PRACTICE AS MUSICAL OFFERING CARLOS SANTANA Electric Guitar CARLOS SANTANA 2A (MasterClass) Practice Piece 2A

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MASTERCLASS • 16 CARLOS SANTANA

CHAPTER 03 GOING INSIDE THE NOTE

MASTERCLASS CARLOS SANTANA

CHAPTER 03 GOING INSIDE THE NOTE

“If you do not get inside the note, you’re not gonna get inside people’s hearts.”

carlos is adamant about one thing • Soul: Evoke emotion in your playing. • Your Vitals: “It’s important that a musi- for musicians of all skill levels: getting For blues and rock guitarists, bending cian is balanced with the sacred and the inside the note. What does this mean into notes is a fantastic way to rep- sex,” says Carlos. He cites Miles Davis’s practically? In a nutshell, it means playing resent emotion in the act of playing. Sketches of Spain as the ultimate in with conviction, with purpose, without (“Bending” is the act of pushing up on sensuous music, blending both spiritual apology, and with your whole being. To a guitar string to shorten its length and and carnal themes. make sure you’re doing this, Carlos offers thus raise the pitch of the note you’re a checklist: playing.) You don’t want your music to Does your playing incorporate all of be overrun by intellect at the expense of these elements? If so, then you’re prob- • Mind: Getting into the proper mindset passion and emotion. ably getting inside the note. The best requires a musician to essentially get players—from Charlie Parker to Stevie “into character,” much like an actor • Heart: You can bring heart to your Ray Vaughan to Jaco Pastorius—can fit would before stepping on the stage. In playing through the use of vibrato. From all five of these into any single note they order to be a great musician, assume the Italian word meaning “vibrate,” the play. the mindset of a great musician. technique involves rapid movement of a fretted note to create a slight sense of • Body: Stand up when you play the motion and greater resonance. Vibrato guitar. Assume a posture and a stance is standard practice in the string section that embodies purpose and confidence. of orchestras, but even players of fretted Carlos says when Buddy Guy, John Lee instruments (like guitar) can incorporate Hooker, and Stevie Ray Vaughan would the technique. take the stage, their physicality greatly informed the music they produced.

MASTERCLASS • 18 CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA

LEARN FROM THE GREATS

Exercises Bending Notes The Power of One Single Note

Play the first Practice Piece twice—once As a guitarist, Carlos finds particular Perhaps every artist strives to incorpo- very flat and then again using vibrato spiritual energy in the act of bending rate mind, body, soul, heart, and vitals (where your fretting finger rapidly moves a note. Citing blues guitar greats like into one single note, but some artists on any held notes). Can you hear the Albert King and Stevie Ray Vaughan, are particularly successful at this: difference? Note that playing with vibrato he points out that not all note bends takes practice and doesn’t come instantly. are the same; a player’s spiritual • Otis Rush, The Essential energy has much to do with the exact Otis Rush: The Classic Cobra Play the second Practice Piece twice— way a note bend may manifest. While Recordings 1956-1958 (2000): once where you fret and pick to reach the other instruments also allow for note Rush is a classic guitar string bender high note, then where you bend into that bends, this action is so idiomatic to and his voice is captivating from the high note. Like Carlos says, bending takes guitar (blues guitar in particular) and very first note. The record begins practice—both in terms of building finger it’s a great way for a guitarist to put with “I Can’t Quit You Baby,” written strength and also just for playing in tune. forth the inspiration he or she feels by Willie Dixon. Long before Led inside. Zeppelin included a cover of it on their debut, Otis Rush had released To fully understand what Carlos it to a devoted (albeit smaller) means about the spiritual art of note audience. bending, delve into the records of some of the blues greats of the 1970s • The Butterfield Blues Band, and ‘80s. Carlos specifically cites East-West (1966): Although based Albert King, Stevie Ray Vaughan, and in Chicago, The Butterfield Blues Buddy Guy; here are a few of their Band crossed paths with Santana highlights: in San Francisco (courtesy of Bill Graham) and later at Woodstock. • Albert King, I’ll Play The Blues The band was led by hard-charging For You (1972): There isn’t a vocalist and harmonica player Paul major blues guitarist alive who isn’t Butterfield, but it is equally remem- indebted to Albert King, and this bered for lead guitarist Michael record shows why. Bloomfield, whose playing evokes everyone from Scotty Moore to B.B. • Stevie Ray Vaughan, Texas Flood King. Bloomfield would eventually (1983): Famed for his tone and leave The Butterfield Blues Band his “Jimi Hendrix by way of Texas” and, like Carlos, make San Francisco swagger, Stevie Ray Vaughan is the his adopted home. most celebrated blues rocker of the 1980s.

• Buddy Guy, Living Proof (2010): Carlos makes a guest appearance!

MASTERCLASS • 19 CHAPTERElectric 03 Guitar GOING INSIDE THE NOTE CARLOSCARLOS SANTANA SANTANA .01 Outside the Note 03 (MasterClass)

Ta b 3 . 1 Appears at 0:25 in video lesson

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MASTERCLASS • 20 CHAPTERElectric 03 Guitar GOING INSIDE THE NOTE CARLOSCARLOS SANTANA SANTANA .02 Inside the Note 03 (MasterClass)

Tab 3.2 Appears at 0:31 in video lesson

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MASTERCLASS • 21 CHAPTERElectric 03 Guitar GOING INSIDE THE NOTE CARLOSCARLOS SANTANA SANTANA

03.03 The Way You Stand (MasterClass)

Tab 3.3 Appears at 3:07 in video lesson

q = 75 - Free Tempo 3 ÍÍÍÍÍÍÍÍÍ œ œ#œ œ œ œ œ œ œ œ œ ° j œ œ" 4 ‰ Œ ‰ œ œ ˙™ œ œ ‰ ≈ ‰ & 4 œ œ œ 3 ˙™ œ œ 3 6 3 œ œ full ˙ œ œ œ œ œ œ ˙™ œ œ 5 8 9 10 9 10 9 10 9 10 9 5 " ÍÍÍÍÍÍÍÍÍ 10 2 2 2 7 5 2 2 2 7 7 5 7 7 0 0 0 7 7 7 7 ¢⁄ 5 5 5

4 œ U 6 H œ < >œ ˙~~ #œ œ 3 3 ° œ nùæœ æ˙~~~~~~~~ œ œ æ æ ~~~~~ œ œœ#œ nœ ‰ Œ Ó & ‰ J œ œ œ œ œœ 1/2 œ#œnœ#œ œœ full æ Uæ 1/2 H 15 12æ 12æ 9 9 5 15 13 13~~~~~~~~~~~~ 5 5 ù ~~~~~~~~~~~~ 7 5 5 ù 7 5 7 7 5 ¢⁄ 7 6 5 4 5 7 7 Electric Guitar CARLOS SANTANA

03.04 Bending (MasterClass)

Tab 3.4 Appears at 3:36 in video lesson

q = 140 ° bœ ˙ 4 ‰ j œ b˙ Œ & 4 œ ˙™

8 8 8 8 10 8 10 10 ¢⁄ 8

MASTERCLASS • 22

03.05 Imploring (MasterClass)

Tab 3.5 Appears at 3:48 in video lesson

q. = 56 ÍÍÍÍÍ bœ œ œ œ œ œ œ œ œ œ œbœ bœ j ™ ™ ° œ œbœ œ œ œbœ œ bœ œ œ 12 ‰ ≈ ≈ J J J J Œ™ & 8 full full full full full 6 full

11 13 13 13 13 13 11 11 13 13 11 13 13 13 11 8 9 ÍÍÍÍÍ ¢⁄

+pinch harmonic +pinch harmonic 3 (Speaking) j j normal j j j j ° U bbœ bœ œ œ œ œ nœ œ œ bbœ bœ œ œ œ œ œ œ~~ & ∑ J J ‰ J Œ J J J J +pinch harmonic +pinch harmonic full full full full full normal 11 11 11 8 11 13 11 11 11 11 ~~ 11 11 11 11 11 11 11 CARLOS SANTANA Electric¢⁄ Guitar 03.06 Boogers and Drooling (MasterClass) Ta b 3 . 6 Appears at 4:40 in video lesson

q. = 64 ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ ™ ™ j ™ >. bœ ˙ bœ œ~~~~ œ œ™ œ œ œ ° œ œ bœ ˙ œ bœ œ œ~~~~~ œ œ œ œ œ œ 12bœ ‰ ‰ J Œ J J ‰ ‰ & 8 J full 1/2 1/2ÍÍÍÍ1/2Í full >8. 11 11 11 11 13 11 8 ÍÍÍÍÍÍÍÍÍ ~~~~ 11 13 11 13 11 8 14 14 14 ¢⁄ 3 ÍÍÍÍ 3 7 ÍÍÍÍÍÍÍ 3 ° œ bœ œ œ œ œ #œ nœ bœ œ œ œ bœ œ œ œ œ Œ™ & 7 J œ #œ nœ bœ nœ œ œ

MASTERCLASS • 23

11.06 Boogers and Drooling Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA .07 Otis Rush 03 (MasterClass) Tab 3.7 Appears at 4:59 in video lesson

q. = 50 ™ ™ (Speakiing) œ ˙™ œ™~~~ j œ œ ° œ#œ œ ˙™ œ™~~~ ™ j œ œ œ œ œ U™ ™ ™ œ#œ 12 æ˙ æœ ~~~ Œ œ œ œ bœ œ œ œ œ Œ Œ Œ ‰ & 8 æ æ (Speakiing) œ œ œ œ œ œ œ œ œ f 1/2 f 1/2 æ pœ œ œ œ œ œ œ œ œ œ 10 10æ 3 3 3 3 3 U 10 10 10 10 3 3 3 3 3 10 10 12 10 3 3 3 3 3 12 12 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 ⁄ 3 3 3 3 3 3 3 3 3 3 ¢ f p f 4 < > œ œ œ œ ° n œ #œ œ nœ #œ œ nœ #œ œ œ nœ œ œ œ œ œ œ & 1/2 1/2 1/2 full 10 10 10 10 10 10 13 10 12 12 12 12 12 10 12 10 12 ¢⁄

5 3 ˙™ >œ ° ˙™ œ œ ‰ ˙™ œ ‰ ‰ bœ œ œ œ Œ™ Œ™ & #œ nœ œ æ J œ œ œ œ œ œ œ œ œ œ œ œ æ p 10æ 10> 10 10 10 10 3 3 3 3 10 10 10 5 5 5 5 5 11 10 8 5 5 5 5 5 5 ⁄ 3 3 3 3 3 3 ¢ p

MASTERCLASS • 24 CHAPTERElectric 03 Guitar GOING INSIDE THE NOTE CARLOSCARLOS SANTANA SANTANA .08 It Means a Lot 03 (MasterClass)

Ta b 3 . 8 Appears at 6:11 in video lesson

q = 110 ° U 4 œ œ œ œbœ œ œ œ œ œ œ œ ‰ œ ‰ 2 & 4 Œ ùœ œ J ‰ œ Œ < >œ œ œ œ œ J J 4 n œ œ œ

5 5 7 7 8 7 5 5 5 5 5 7 7 7 7 5 5 7 7 7 7 ¢⁄ ù 5 5 Slower 4 ° œ œ < > œ œ œ 2 œ œ 4 ‰ j œ œ n œ œ œ œ œ Ó & 4 œ œ œ 4 œ #œ œ œ 5 5 5 5 3 1 5 5 5 7 5 9 7 9 5 5 7 7 7 6 7 CARLOS SANTANA Electric¢⁄ 5 Guitar 03.09 Wes Montgomery (MasterClass) Ta b 3 . 9 Appears at 6:24 in video lesson

q = 104

j œ j >œ j ° œ #œ œ Œ < >œ œ 4 œ œ œ œ œ #œ œ œ n œ ‰ œ ‰ Œ & 4 œ œ J œ œ œ J 1/2 J > œ 7 >5 > 7 5 5 5 7 9 7 5 7 5 7 5 5 7 7 7 7 5 5 7 5 3 7 ¢⁄ 0

MASTERCLASS • 25

03.10 Albert Kind and Wes Montomery (MasterClass)

Ta b 3 . 1 0 Appears at 6:35 in video lesson

q = 100 ÍÍÍÍÍÍÍÍ ÍÍÍÍ œ œ œj œ œj œ ÍÍÍ < > ° œ œ œ œ œ œ™ œ œ#œ œ œ n œ œ œ 4 ‰ œ Œ Œ Œ œ œ œ J ‰ & 4 J 6 3 3 3

full full full full 1/2

5 5 10 10 10 10 8 ÍÍÍ 8 5 5 8 5 8 5 10 10ÍÍÍÍÍÍÍÍ 3 5 5 ÍÍÍÍ ¢⁄ 3 ÍÍÍÍ 3 4 j ™ ™ œ œ œ ÍÍÍ œj œj j j ‰ œ œ œ ÍÍÍ œ œ œ œ œ œ œ ° œ #œ œ #œ ÆJ œ ÆJ œ œ œ Ó J œ ‰ Œ ‰ ‰ J J Œ & J 3 3 œ full full full full full full full ÍÍÍÍ 10 10 8 ÍÍÍ 8 8 8 8 10 5 7 10 Í7ÍÍ 13 8 8 8 0 ¢⁄ Electric Guitar CARLOS SANTANA

03.11 Play in Tune Tab 3.11 (MasterClass) Appears at 7:10 in video lesson

q = 130 +Pinch harmonics bœ™ œ ° 4 œ b œ œ & 4 Ó

+Pinch harmonics 1/2

10 10 10 10 ¢⁄

MASTERCLASS • 26

11.11 Play in Tune Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA .12 This is the Note 03 (MasterClass) Ta b 3 . 1 2 Appears at 7:14 in video lesson

q = 70 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j j ~ ™ ~ ™ #œ œ œ nœ œ œ œ ˙ œ~ b˙ œ œ bœ nœ ~ œ œ ˙ ~ œ ° ~ ~ ~ J 4 ~ R Œ ~ ‰ ≈ ~ & 4 full full ~ 3 3 ~

œ 8 11 12 12 10 10 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 8 11 11 11 8

¢⁄ 0

5 œ œ ÍÍÍÍÍÍÍÍÍ j j ÍÍÍÍÍÍÍ ° bœ œ #œ œ œ œ œ ˙ œ œ œ œ œ œ bœ œ ™ & ‰ J œ œ ‰ 3 8 6 8 6 7 8 7 8 ÍÍÍÍÍÍÍÍÍ 6 8 6 ÍÍÍÍÍÍÍ 10 12 10 8 5 8 5 ¢⁄

 8 < > b j œ œ n œ œ™ œ bœ œ b˙ œ œ œ œ œ ° œ œ œbœ œ œ œ œ œbœ Ÿ J ≈ R & #œ œ 6 3 6 b 8 10 13 10 8 11 8 11 11 13 11 11 8 8 10 11 11 11 7 8 10 9 10 Ÿ ¢⁄ 9 10

rit. 10 w œ œ ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ° bœ œ #œ œ œ œ ˙ œœ œ œbœ & œ œ ˙ Ó 3 8 8 6 8 6 ÍÍÍÍÍÍ 7 8 7 8 8 6 8 6 ÍÍÍÍÍÍÍÍ 8 10 10 10 ¢⁄

MASTERCLASS • 27 CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA

03.13 Visit the Note Completely (MasterClass) Ta b 3 . 1 3 Appears at 8:37 in video lesson

q = 70 ÍÍÍÍÍÍÍ bU˙ œ œ œ bœ ° œ œ œ ˙ œ 4 ‰ ≈ R J J ‰ 3 & 4 3 3 4 8 U11 ÍÍÍÍÍÍÍ 11 11 8 8 ¢⁄

3 ÍÍÍÍÍÍÍÍ (Speaking) œ bœ œ nœ œ bœ œ bœ j ™ ™ ° 4 #œ œ nœ œ œ œ œ U 3 ‰ 4 ‰ Ó & 4 (Speaking)

8 6 8 7 8 8 ÍÍÍÍÍÍÍÍ U 11 11 7 8 6 8 6 8 8 ¢⁄

6 (Speaking) ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j j U™ ° œ œ™ œ œ U œ œ™ œ ˙ & Ó (Speaking) U U 6 8 6 8 6 8 6 Í8ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ¢⁄

MASTERCLASS • 28 CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA .14 A Warm Tear 03 (MasterClass)

Ta b 3 . 1 4 Appears at 9:14 in video lesson

q = 55 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ j ™ U j j U ° 4 œ œ œ ˙ œ œ œ œ œ œ bœ U & 4 Œ œ U U UÍÍÍÍÍÍÍÍÍ 6 8 6 Í8ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 6 8 6 6 8 6 8 10 ¢⁄

Electric Guitar CARLOS SANTANA .15 With No Vibrato 03 (MasterClass) Tab 3.15 Appears at 9:49 in video lesson

q = 120 ÍÍÍÍÍÍÍÍÍÍ U w ˙™ œ œ œ œ œ œ œ ° 4 œ œ œ & 4 œ œ ‰ œ œ 8 7 8 7 8 7 8 U7 5 3 5 8 4 5 ÍÍÍÍÍÍÍÍÍÍ 4 5 ¢⁄ ÍÍÍÍÍÍÍÍÍÍÍÍ 4 ™ j œ œ œ U˙ ° œ œ œ œ œ œ œ œ œ œ ˙ œ œ 2 4 Œ #œ œ & 4 4 3 8 7 8 7 8 7 5 7 75 5 10 10 10 6 ÍÍÍÍÍÍÍÍÍÍÍÍ 6 7 ¢⁄ 11.14 A Warm Tear Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

MASTERCLASS • 29

11.15 With No Vibrato Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA .16 With Vibrato 03 (MasterClass) Ta b 3 . 1 6 Appears at 10:07 in video lesson

q = 110 ÍÍÍÍÍ ÍÍ™ÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍ œ œ ˙ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ° 4 œ œ J J U 2 œ œ 4 3 & 4 œ œ ‰ 4 œ œ 4 4 ÍÍÍÍÍÍÍÍÍ Í8ÍÍÍ 8 Í7ÍÍÍ 8 7 8 7 U 8 7 8 7 8 7 8 7 5 7 5 8 ÍÍÍÍÍÍÍ 5 8 4 5 4 5 ÍÍÍÍÍ ¢⁄ ÍÍÍÍÍÍÍ H 5 ÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍ j ™ ™ œ œ œ œ™ œ œ ˙ ° œ œ œ œ œ œ œ 3 J ≈ Œ 2#œ œ 4 Ó & 4 4 4 3 H 7 5 5 7 5 5 10 10 10 10ÍÍÍÍÍÍÍ10 12 10ÍÍÍÍÍÍÍÍ 6 ÍÍÍÍ ÍÍÍÍ 6 7 ¢⁄

MASTERCLASS • 30 CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA .17 Make a Corner 03 (MasterClass) Tab 3.17 Appears at 10:57 in video lesson

q = 60 - Free Tempo ÍÍÍ U ÍÍ™ÍÍÍ ÍÍÍ œ œ œ œ œ œ œ#œnœ œ œ œ œ ° œ œ œ œ œ œ 2 4 ‰ j œ œ œ œ ‰ ≈ œ J ‰ J J ≈ R 4 & 4 œ R 3 3 12 U Í8ÍÍÍÍ 5 3 1 Í3ÍÍ 15 13 12 15 15ÍÍÍ 15 14 13 12 13 13 4 9 2 14 14 14 ¢⁄ 14

ÍÍÍ™ÍÍÍÍÍÍ 3 ÍÍÍ U ˙ œ œ ° œ œ œ œ œ œ œ œ #œ #œ™ œ#œ œ ˙ œ. œ 2#œ œ 4 J ‰ œ J ≈ œ & 4 4 3 . 12ÍÍÍÍÍÍÍÍÍ 13 13 12 13 12 12ÍÍÍ 15 13 12 12 14 11 13 14 13 14 13 13 14 14 14 ¢⁄ ÍÍÍ 7 ÍÍ ÍÍÍ œ™ œ œ™ œ œ 3 œ#œnœ œ~ ÍÍ ° œ ~ œ œ œ œ J ‰ ‰ œ œ 2 J ≈ œ 4 œœ œ œ œ ≈ ≈ & 4 R 4 œ œœ œ œ~~ ÍÍÍ 7 5 15 17 15 17 15ÍÍ 15 14 13 12 13ÍÍÍ 5 5 ÍÍ ~~ 5 4 14 14 14 7 0 2 7 14 7 5 3 ~~ ¢⁄ ~

10 ÍÍÍÍÍ ÍÍÍÍÍÍÍ œ œ œ œ œ œ œ œ œ™ ° œ œ œ œ 3 œ #œ #œ 4 #œ & ≈ 4 4 Ó

12 13 13 12 12 12 ÍÍÍÍÍ ÍÍÍÍÍÍÍ 14 14 11 13 14 13 14 14 15 14 ¢⁄

MASTERCLASS • 31 CHAPTER 03 GOING INSIDE THE NOTE CARLOS SANTANA Electric Guitar CARLOS SANTANA 3A (MasterClass) Practice Piece 3A

q = 130 poco rit. ° ™ ™ œ ™ 3 œ œ œ œ œ œ œ œ œ œ ˙ & 4 J J

8 10 8 7 9 10 9 7 10 9 9 10 ¢⁄

q = 130 poco rit. ° ÍÍ™ÍÍÍÍÍÍÍ ÍÍ™ÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍ ÍÍ™ÍÍÍÍÍÍÍÍÍÍÍ 3 œ œ œ œ œ œ œ œ œ œ ˙ & 4 J J

ÍÍÍÍÍÍÍÍÍ Í8ÍÍÍÍÍÍÍÍ 10 8 CAÍÍRÍÍLÍOÍ SÍ SÍÍAÍÍNÍÍTÍAÍÍNÍÍAÍ Electric7 Gu9itar10 9 7 10 9 9 10 ¢⁄ 3B (MasterClass)

Practice Piece 3B

q = 65 bœ œ ˙ ° 4 ùœ œ œ & 4 ‰ J

11 13 13 ù12 12 10 ¢⁄

q = 65 ° œ bœ œ œ œ œ ˙ 4 ‰ ùJ œ & 4 full

11 11 ù12 12 10 ¢⁄

MASTERCLASS • 32

CHAPTER 04 FINDING YOUR SOUND

MASTERCLASS CARLOS SANTANA

CHAPTER 04 FINDING YOUR SOUND

“Your sound… was already given to you. You just have to shape it by playing it more and more and more and more until you arrive at saying, ‘That’s me.’ ”

carlos’s first instrument was Carlos, the term applies to guitarists who emulating the delicate but assured singing violin, which his father José taught him seem as though they’re playing slide gui- voice of Billie Holiday. In his next session, to play. And while his father was able to tar, even though they don’t have a slide. he may be echoing the almost chaotic coax luxuriant sounds from the instru- Carlos cites Muddy Waters, Albert King, free jazz of guitarist Sonny Sharrock. ment, Carlos could never produce a tone B.B. King, Freddie King, Mike Bloomfield, that he found personally satisfying. This Jerry Garcia, and Peter Green as players precipitated his move to guitar. who had the “twang.” All these guitarists, Carlos offers, know how to “get inside the While his father taught Carlos the note.” rudiments of guitar, Carlos gleaned more influence from professional rock In Carlos’s mind, the twang lives inside guitarists he encountered in his teenage everyone; you just have to let it out. This years. Javier Bátiz, a Tijuana guitarist, means playing with confidence and the caught Carlos’s eye for the way he belief that you have something to offer presented himself on stage, as well as that others need to hear. It starts with his ear for what Carlos calls his “twang.” self-affirmation. Traditionally,“twang” refers to the bright, treble-y, occasionally harsh tone that a “Find your center and stay there.” guitar produces when played near where the strings meet the bridge. But Carlos Carlos makes a conscious point to bor- expands the term to invoke a kind of row language from other musicians and swagger—a confidence in one’s tone that work it into his own playing to inspire new Footage of Cindy Blackman drumming shown in the pervades a player’s music. In a way, says ideas. In one practice session, he may be lesson video courtesy of underyourskin.net.

MASTERCLASS • 34 CHAPTER 04 FINDING YOUR SOUND CARLOS SANTANA

LEARN FROM THE GREATS

Free Jazz • Albert Ayler Trio, Spiritual Unity standouts Bill Laswell and Ronald (1965): Saxophonist Albert Ayler Shannon Jackson, plus the intimi- Free jazz is more of an influence on was a star by free jazz standards. This dating German saxophone colossus Carlos than some may realize. Sonny doesn’t mean he was actually a star, Peter Brötzmann, whose blend of Sharrock, Sun Ra, Larry Young, and but he was more popular than most. free jazz and pure noise really must Pete Cosey all helped shape the His approach to the music comes be heard to be believed. Santana sound. While these artists via blues and R&B, which gave him a also performed more traditional jazz, natural instinct for melody. Meanwhile, Chicano Rock they were considered quite avant the trio’s bassist Gary Peacock is still garde in the 1960s when Carlos was going strong in his mid-80s. Los Angeles’s San Fernando Valley coming of age. Here are some records spawned bilingual rock stars like by free jazz greats to help crack open • Weather Report, Heavy Weather Ritchie Valens, who brought Latin cul- the door to this edgier form of music: (1977): The 1970s saw the rise of ture to a genre otherwise dominated fusion music, which (per its name) by British and American sensibilities. • Sun Ra, Sun Ra and his Solar fused elements of jazz, blues, rock, and Arkestra Visits Planet Earth funk. Weather Report exemplified the • Ritchie Valens, Ritchie Valens (1966): What good is an avant- fusion genre and this album features an (1959): Valens’s only full-length garde jazz musician without an outer all-star lineup of Joe Zawinul, Wayne record was released a month after space origin story? Sun Ra’s bold Shorter, Jaco Pastorius, Alex Acuña, his death in a Clear Lake, Iowa plane self-promotion and his commitment and Manolo Badrena. crash along with Buddy Holly and to experimental jazz made him one J.P. “The Big Bopper” Richardson. of the most significant figures of the • Last Exit, Last Exit (1986): Last The big hit is “La Bamba” but the genre (even though he was most Exit was a bit of a free jazz supergroup, full album is a great time capsule of likely considered scandalous back in if such a thing exists. It featured Sonny the Mexican-American rock scene in the ‘50s). Sharrock exploring alongside fellow LA’s San Fernando Valley.

MASTERCLASS • 35 CHAPTER 04 FINDING YOUR SOUND CARLOS SANTANA Electric Guitar CARLOS SANTANA 16.01 Twang (MasterClass) Chapter Tab 4.1 Appears at 1:31 in video lesson

q = 116 - Swing 8ths < > ° œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ n œ œ œ#œ œ œ 4 œ#œ #œ ¿ J ‰ Ó Œ œ & 4 J3 3 3 3

1/2 1/2 1/2 1/2 full full full 1/2

2 5. 7. 7 7 7 7 7 5 5 7 7 8 8 5 5 5 7 X 5 ¢⁄

5 < > ÍÍÍÍ 3 ÍÍÍ œ n œ œ œœ œ œ#œ œ œ œ œ#œ ° œœ bœœ nœ < >. J J J #œ J & #œœ œœœ< > œ œœœ n œ ‰ ‰ Ó 3 3 3 n œ J 3 3 3 full full 1/2 full

. 10 10 8 10 8 5 5 7 8 5 4 5 ÍÍÍ 7 ÍÍÍÍ 7 6 6 5 7 7 5 5 7 7 7 ¢⁄ 7 3 j j < > 9 #œ #œ œ œ œ œ nœ #œ n œ œ œ œ ° œ#œ œ œ œ œ#œ œ œ œ œœœ œ œ J ‰ J ‰ J ‰ J ‰ J ‰ J œ œbœ & 3 3 3 3 3 3 3 3 full full

14 14 14 14 13 14 15 12 12 12 15 14 15 14 15 15 14 15 14 14 12 14 12 14 12 14 14 13 ¢⁄ 3 3

12 j ÍÍÍÍ œj œ#œ œ#œ œ œ#œ ° < > œ #œ œ œ œ #œ œ œ < >œ #œ œ œ œ œ œœ œ n œ ‰ J ‰ n œ œ œ œ ‰ J & 3 j œ 3 1/2 1/2 1/2 œ œ œ œ œ

1/2 1/2 8 8 5 8 5 5 2 8 8 5 ÍÍÍÍ 7 7 7 5 3 7 7 14 5 12 10 12 14 7 7 7 ¢⁄ 5 5 5 5 5

MASTERCLASS • 36 CHAPTER 04 FINDING YOUR SOUND CARLOS SANTANA

- 16.01 Twang - 2 Electric Guitar 15 < > ÍÍÍÍÍÍÍ ÍÍÍÍÍÍ n œ #œ j ° #œ œ œ œ œ œ œ œ œ < > œ ‰ œ œ n œ œ œ œ#œ œ œ œ œ Œ & 1/2 J œ 1/2

8 5 5 3 7 5 5 5 8 ÍÍÍÍÍÍÍ 5 ÍÍÍÍÍÍ 7 9 7 5 7 5 5 7 7 5 ¢⁄ 7

Electric Guitar CARLOS SANTANA 16.02 Dig In (MasterClass) Chapter Tab 4.2 Appears at 2:59 in video lesson

q = 90 - Swing 8ths 3 . œ™ . œ œ. . ° #œ œ œ #œ œ œ œ œ œ 4 ‰ Œ & 4 3 3

full full 1/2 1/2

7 7 9 9. 9 9. 7 10 ¢⁄

2 ÍÍÍÍÍ #œ œ. . œ œ. . œ œ. . œ œ. . < > ° œ œ œ œ œ œ œ œ n œ #œ œ Œ Ó & 3 3 3 3 3 1/2 1/2 1/2 1/2 1/2

9 9. 9 9. 9 9. 9 9. 8 5 8 10 1Í0ÍÍÍÍ ¢⁄

MASTERCLASS • 37

16.01 Twang TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

Electric Guitar CARLOS SANTANA 16.03 Chaos Chapter Tab 4.3 (MasterClass) Appears at 4:53 in video lesson

q = 112 - Free Tempo RH tremolo picking, LH moves up and down neck lightly touching strings ~ ~ ~ ord. ~ ~ ~ > ™ ~ ~ ~ ? ~? ~ ? ~ ~ ~ ~ ~ æ æ ~ æ ? æ ? ? ~ ° ~ ™ U > æ > æ ~ æ æ ~ æ ~ ~? æ ? æ ~ æ æ ~ ™ æ ~ ~ 4 æj ~ ~ ~ ? ~ bœ ~ ~ ~ J æ ~ ~ æ ~ ~ ≈ ~ bœ œ œ ‰ ~ ~ ~ nœ œ & 4 æ~~ æ? ? ? ~~ ~ ? ~ æ æ æ æ æ? ~ œ > RH tremolo picking, no definite pitches æ æ æ LH moves up and down neck touching strings 1/2 full 1/2 > > > > ord. 3~ æ ~~ ~~~ æ 14 æ æ ~ æ æ æ æ æ æ æ æ æ æ ~~ 10 3 12 19 æ æ æ æ æ æ æ 2 ~~ 0 ⁄ ~~~~ 17 29 29~ 24 29~ 24 29~ ~ ¢ ~~~ ~~~~~~ ~ ~~ ~ ~~ ~

4 ~ ord. ~ ~ ~ ord. ? ~ ? ~ ~? ~ > > > > > > ~~ ~~ ~ ~ ? ? ? ? ? > ~ æ ~~? ? ? ° ? ? ? æ ~ æ ~ æ ? > > ~~ æ ~ æ ~ æ æ æ æ æ æ æ æ æ æ æ æ ~ ~ æ æ æ æ æ æ æ æ ? æ æ æ æ æ ~ ™ ~~ æ æ æ æ æ æ æ nœ #œ æ æ æ æ æ ~ J æ æ ?bœ nœ œ & ~ ? æ æ æ æ æ æ J J3 œ 3 3 ord. 1/2 1/2 1/2 ord. > > > > > > > >æ >æ æ æ æ æ æ æ æ æ æ æ æ æ æ4 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 14 æ æ 2æ4 3æ1 2æ4 3æ1 0 1æ2 2æ7 2æ7 2æ7 2æ7 2æ7 27 27 27 24 13 ¢⁄ 24 ~~ 31~~ ~~ ~~ ~~ ~~~~~ ~~~~~~~ q 7 Slower - = 76 ÍÍÍÍÍÍÍ ord. ˙ œ œ #œ œ œ ÍÍÍÍ ° ~ ~ ~ #œ œ ~ #œ œ ? ~ ~ ? ~ ~ ? œ#œ œ œ #œ œ œ œ ? ~ ? æ~ ? œ #œ œ ‰ œ & æ æ æ æ æ æ 3 3 æ æ æ æ æ 5 ord. ÍÍÍÍ æ æ æ 9 1Í2ÍÍÍÍÍÍ 9 12 14 12 9 12 9 7 æ2 æ2 æ2 9 11 9 9 9 9 6 9 æ æ æ 9 11 12 æ ~ ~~ æ ~~ ~~ æ ~~ ¢⁄ 19 ~~ ~ 19 ~ ~ 19 ~

10 < > ÍÍÍÍÍÍ ° œ n œ #œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ 3 œ œ#œ œ 4 & 4 #œ œ œ œ 4 3 6 full 1/2 1/2 1/2 1/2

10 7 ÍÍÍÍÍÍ 10 10 9 9 9 9 11 9 11 11 9 ¢⁄ 12

MASTERCLASS • 38 CHAPTER 04 FINDING YOUR SOUND CARLOS SANTANA

- 16.03 Chaos - 2 Electric Guitar

12 ~ ~ œ ? ? ~ ~ #œ œ œ œ œ ~ ° œ œ #œ æ ~ ~ #œ œ œ œ œ œ #œ æ ~ ~ ~~ œ œ#œ œ œ œ æ ~ ~ ? 4 #œ # œ œ ~ ~æ œ œ œ œ ~ æ ~ æ #œ ~ æ ~ æ & 4 5 æ ~ æ ~ æ ~ ~ 3 æ ~ ~ æ ? ~ 12 9 9 1æ2 æ 9 9 12 9 12 12 9 12 12 9 11 æ5 9 9 11 11 11 9 11 9 ~~ 9 9 11 9 11 9 11 ~~ ~~~~ 11 æ ~~ æ0 ~~ ¢⁄ ~~

14 ~ ?>~~~~ ° æ ~ & Œ Ó > ~~æ ¢⁄ 29~~~~~~

Electric Guitar CARLOS SANTANA 03.01 Conviction (MasterClass) Chapter Tab 4.4 Appears at 8:27 in video lesson

q = 65 3 > . œ œ. ° œ œ #œ œ 4 Œ Œ Œ J Œ Ó & 4 3 1/2 full

8 9 10 10 ¢⁄

16.03 Chaos TRANSCRIPTION & MUSIC PREPARATION MASTERCLASS • 39 BY STEVE AHO

Chapter Tab 4.5 Appears at 8:50 in video lesson

3 q = 50 3 3 3 œ #œ œ œ œ 3 ° j œ œ œ 4 Œ ‰ ‰ œ ‰ J œ œ œ œ œ & 4 j œ 3 j #œ œ œ œ œ œ œ 1/2 full œ œ œ œ œ œ. > œ œ . > 8 9 10 0 0 10 0 0 0 0 0 1 1 1 1 1 7 2 2 2 2 2 0 7 2 2 2 2 2 ¢⁄ 0 5 0 0

3 3 3 3 . œ œ œ#œ œ œ< > ° #œ n œ œ œ œ < > j & œ ‰ n œ#œ œ œ œ œ ‰ œ œ œ #œ œ œ nœ œ 3 3 3 œ . J full 1/2 1/2

2. 8 8 5 . 3 8 5 5 2 7 5 2 5 7 5 7 5 7 5 4 7 4 3 ¢⁄ 5 7 3 3 < > 5 œ œ œn œ œ œ ¯¯¯¯¯¯¯ œ œ œ œ #œ™~~~~~~~~~~~ ° œ œ œ œ œ ~~ œ œ œ œ œ ~~~ J & #œ œ œ œ œ nœ 3 3 ‰ œ œ œ œ œ œ œ full full 1/2 œ œ œ œ œ œ full ¯¯¯¯¯¯¯ œ0 œ0 œ0 œ0 œ0 œ 15 0 0 0 0 0 15 15 15 15 13 1 1 1 1 1 0 14 14 ~~~~~~~~~~ 2 2 2 2 2 2 0 ~~ 2 2 2 2 2 0 ~~ ⁄ 0 0 0 0 0 0 ~~ ¢ ~~

MASTERCLASS • 40 CHAPTER 04 FINDING YOUR SOUND CARLOS SANTANA Electric Guitar CARLOS SANTANA 4A (MasterClass) Practice Piece 4A

q = 92 - Swing 8ths ÍÍÍÍÍÍ ° œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ 4 ‰ J & 4 3 full 3 full 3 ÍÍÍÍÍÍ 14 14 16 16 16 16 14 14 14 14 16 16 16 ¢⁄ 2 < > œ ÍÍÍ . . . . ÍÍÍÍ ÍÍÍÍÍÍ ° œ n œ œ œ œ œ œ œ #œ œ œ œ œ#œ œ œ J ‰ J J ‰ J J ‰ ùœ œ œ œ™ œ™~ ‰ & 3 3 3 3 3 J ~~~~ 1/2 1/2 . . . . 17 ÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍ 16 16 16 14 14 14 16 17 17 16 16 14 16 17 17 16 16 12 10 ¢⁄ ù 12

MASTERCLASS • 41 CARLOS SANTANA

CHAPTER 05 A GLOBAL MUSIC ROLODEX

MASTERCLASS CARLOS SANTANA

CHAPTER 05 A GLOBAL MUSIC ROLODEX

“Music is always a celebration. And it always should be a celebration.”

influences in santana’s music jazz drumming. You don’t have music (while noting that flamenco was span from Africa to the Caribbean to personally be a drummer to inspired by the music of India, brought (for rhythmic ideas) to the American appreciate this. to the European continent by members South (for blues harmony) to Hawaii of the gypsy culture). The paso doble, a and the Pacific Islands (for more subtle “Drummers are extremely and Spanish dance that mimics the elegant embellishments) to the pre-Colombian supremely melodic.” steps of bullfighters, is an example of Americas (for connection to the earth). “flair” in European music. The fighter They also include classical composers Carlos also draws inspiration from music takes on the bull with artistry, rather than like Igor Stravinsky and classical perform- one degree removed from Africa, such dispense of it quickly and brusquely. ers like Andrés Segovia. as the call-and-response traditions of So, too, should a musician seek artful, Jamaican reggae, immortalized by the late expressive ways of communicating with Early in Carlos’s career, a Ghanaian Bob Marley. He even finds commonal- an instrument; it’s not just about playing musician taught Carlos the concept of a ities in many forms of Native American as quickly as possible. “wuh,” which Carlos physically represents music. He notes the spiritual importance as a burst coming out of his core. As of these musical traditions, and the way Carlos sings the wuh, he is specifically they embody compositions with a “hyp- accenting the downbeat of the third mea- notic” quality that he considers essential sure of a four-measure phrase. However, to his own work. it’s clear that the Ghanaian wuh is about more than a simple accent on a specific “The best music takes you away from beat. time and gravity.”

African rhythmic traditions have thrived Carlos emphasizes the value of elegant in the Americas through the medium of playing, as heard in Spanish flamenco

MASTERCLASS • 43 CHAPTER 05 A GLOBAL MUSIC ROLODEX CARLOS SANTANA

LEARN FROM THE GREATS Exercise Global Music • Andrés Segovia, The Legendary Building your guitar playing around Andrés Segovia: My Favorite rhythmic patterns is a terrific way to From Africa to Europe to the Works (1988): For a generation further delve into Carlos’s process. To Caribbean, there are so many places of listeners, Segovia is the embodi- put this into action, listen to this loop of a to seek influence beyond your ment of both classical and Spanish merengue beat. standard-issue guitar rock bands. flamenco nylon string guitar. Listen Here are a few places to start: at your own risk: You may expe- Merengue is a style rooted in Africa that rience flashes of wanting to quit came to life in the Dominican Republic • The Tony Williams Lifetime, guitar altogether after hearing what and is based on a repeating five-beat Emergency! (1969): To ny Segovia can do with the instrument. rhythmic pattern called a quintillo. Carlos Williams, already famous as Miles has successfully combined merengue Davis’s drummer, had so much to • Osibisa, Woyaya (1971): If you rhythms with blues harmonies in his own say in his debut as a bandleader want to know what Carlos was music—merging two North American that he began with a double album. listening to during his Afropop genres with African origins. There is notably no bass on this explorations of the early 1970s, record, but harmony is well cov- check out the Ghanaian-British After a few listens, improvise a melodic ered by Larry Young (organ) and group Osibisa. Here you’ll encoun- guitar line to fit its particular accents. Carlos’s friend and collaborator John ter the levitating rhythms Carlos McLaughlin (guitar). spoke of in the lesson, alongside an experimental “jam” aesthetic that would have fit perfectly in Santana’s San Francisco.

MASTERCLASS • 44 CARLOS SANTANA CHAPTERElectr i05c Guitar A GLOBAL MUSIC ROLODEX CARLOS SANTANA 05.01 Pursuit (MasterClass)

Chapter Tab 5.1 Appears at 5:43 in video lesson

q = 250 ° ™ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 Œ 3 & 4 œ™ œ™ œ#œ 4 ¿ ¿ 4 5 5 5 5 5 5 5 5 5 5 4 5 7 4 5 7 5 4 7 6 X X ¢⁄ 7 7

7 ° œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ & 4 #œ#œ œ œ œ 3 #œ #œ œ . 5 6 5 4 4 5 7 4 5 4 4 5 7 7 5 4 4 6 7 7 7 7 6 7 6 ¢⁄ 7

MASTERCLASS • 45 CARLOS SANTANA CHAPTERElectr i05c Guitar A GLOBAL MUSIC ROLODEX CARLOS SANTANA 05.02 Attaining (MasterClass)

Chapter Tab 5.2 Appears at 6:00 in video lesson

q = 230 b ° Ÿ 3 œ. œ œ œ œ . œ œ™ œœ œœœ œ & 4 œ œ œ œ œ œ#œ œ œ œ œ œ œ Œ Œ œ œ œ ‰ œ . 3 3 J . . . b 5 5 6 5 3 5 5 3 3 5 5 7 5 4 4 5 4 5 Ÿ 5 5 4 5 4 4 2 7 7 6 7 ¢⁄ 8

7 (speaking) ° U œ œ œ #œ™ #œ œ œ œ #œ œ Œ Œ #œ™ œ œ œ œ œ Œ & œ J J œ #œ œ œ 5 5 5 4 2 5 5 7 5 5 9 5 6 7 7 6 ¢⁄ 7 7

14 ° >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 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 œ œ ¿ ¿ œ >5 5 7 7 7 7 7 7 7 7 7 7 7 7 7 X X 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 X X 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 X X 7 7 7 7 ¢⁄ 7 7 5

MASTERCLASS • 46 CARLOS SANTANA

CHAPTER 06 LEARNING FROM THE BLUES

MASTERCLASS CARLOS SANTANA

CHAPTER 06 LEARNING FROM THE BLUES

“If you can play some blues you can play anything. If you can’t play the blues you should do another thing as a profession, you know?”

when you dig into blues compo- complicated, but if you want to hang with means delving into the music of Africa, sitions by B.B. King, Ray Charles, Chuck the big boys, you’d better play it right! Brazil, the Caribbean, or elsewhere, it’s Berry, Led Zeppelin, Elmore James, and important to keep listening and trying others, you may notice that, harmoni- As Carlos demonstrates various timeless new things, even if they may not come as cally speaking, these songs are more or blues riffs, he makes use of certain idiom- easily as the blues. less the same. Traditional 12-bar blues atic elements to the form. He often plays involves a fixed 3-chord progression, a 7th chords instead of triads and on major Exercise fixed 5-6 note scale, and similar rhythmic chords, he often embellishes with a #9 patterns. So then what differentiates (for instance, a G added into an E major Try playing the four practice pieces in individual blues rock songs? chord). Sometimes he’ll bend that #9 this chapter. The first is in the style of up a half-step, and suddenly it becomes Lightnin’ Hopkins, the second is in the For Carlos, the answer is attitude. Youth the third in a major triad. Sometimes style of Jimmy Reed, the third is in the gravitate to blues music because once he’ll bend a #11 note up a half-step, and it style of John Lee Hooker, and the fourth you learn the basics, you can dive right becomes the 5th in a major triad. These is in the style of Peter Green (who himself in. Carlos latched on to the music of John familiar, but powerful, gestures help often plays in the style of B.B. King). Lee Hooker and Lightnin’ Hopkins when establish the blues idiom from the very he was young. John Lee Hooker’s style first measure. First try playing them with a metronome of music was called “cut and shoot”— (a good slow pace is about 82 beats because, says Carlos, “If you don’t play While the blues is a fertile musical per minute, and a faster pace might be it right, they’ll cut and shoot you.” In language, it’s important to not stop about 108 beats per minute). Next, turn other words, this music isn’t terribly your journey there. Whether that the metronome off and try playing them

MASTERCLASS • 48 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA

by following your emotion. Finally, turn the metronome back on and try to remain in time while also letting the riffs breathe. That means you might intentionally delay a few of the notes, or play a little bit out of time, but overall you’ll finish right on the beat of the metronome.

LEARN FROM THE GREATS

Peter Green its own right—specifically as Britain’s created a company called Mesa definitive interpretation of American Engineering and began retrofitting Long before Lindsey Buckingham delta blues. And most relevantly, this old Fender amplifiers to create and Stevie Nicks joined the lineup, record features the original version something entirely different. He got Fleetwood Mac was arguably the of “Black Magic Woman,” to be the name for his new amp creation finest blues rock band to come out covered by Santana two years later. when a young guitarist who tried one of England. Singer and guitarist Peter allegedly exclaimed, “That thing really Green founded the band with drum- John Lee Hooker boogies!” And thus the Mesa Boogie mer Mick Fleetwood and guitarist amplifier was born. The name of that Jeremy Spencer. Carlos describes John Lee Hooker’s guitar style draws young guitarist? Carlos Santana. hearing the Green-era Fleetwood from the “boogie woogie” piano that Mac for the first time and the way swept jazz and blues circles in the • John Lee Hooker, That’s My they were able to channel B.B. King 1920s. Although the “boogie woo- Story (1960): Hooker’s influence and Elmore James, despite being a gie” feel likely has its roots in Texas across generations is undeniable. collective of white people from the blues (and West Africa before that), You’ll hear the influence he had on UK. the first instrumentalist to receive Carlos and so many other players wide acclaim within the style was that he touched. • Fleetwood Mac, English Rose pianist Meade “Lux” Lewis. The term (1969): No, the Peter Green version “boogie woogie” evolved to include • John Lee Hooker, Live at of Fleetwood Mac never produced more instruments and was eventually Newport (2002): These sessions a hit on the level of “Rhiannon,” shortened to just “boogie.” are from 1960 and 1963 and serve “Don’t Stop,” or “Go Your Own as a foundation for future electric Way.” Nonetheless, this iteration of The story comes full circle in 1971 blues players, from Albert King the band was highly renowned in when a young San Francisco Bay to Jimi Hendrix and Stevie Ray Area engineer named Randall Smith Vaughan.

MASTERCLASS • 49 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA

LEARN FROM THE GREATS

Classic Blues • B.B. King, Live at the Regal • Buddy Guy, Damn Right I’ve (1965): If you hear a ‘70s blues gui- Got the Blues (1991): Buddy Guy There are too many great blues artists tarist playing a lick, chances are B.B is a must-study for any guitarist to count, but to delve into a few King did it first, several years prior. seeking examples of two principles: Santana essentials, check out the This classic live recording provides a massive sustain and lightning fast following: good survey of King’s classic music. blues playing.

• Jimmy Reed, I’m Jimmy Reed • Albert King, Born Under A Bad • Stevie Ray Vaughan, The Sky (1958): Although Reed is not Sign (1967): Albert King is the Is Crying (1991): Vaughan also currently a household name on the master of string bending, which had knows how to bend a note or two, level of B.B. King and Jimi Hendrix, a great effect on a young Carlos and make it sustain, but his tone is he was immensely popular in his Santana. Here, King is accompanied distinct from that of Buddy Guy—or day for simple, catchy music that in studio by Booker T. and the that of Santana, for that matter. captured the newly-popular spirit of M.G.’s, who routinely sat in on Stax Many credit it to his extra-heavy the blues. Records sessions. 13-gauge guitar strings and his penchant for detuning everything • Lightnin’ Hopkins, Hootin’ the Contemporary Blues Rock by a half-step, but as Carlos would Blues (1965): Hopkins blended quickly point out, it starts with the blues with country music, which Blues exploded in popular culture in player’s fingers! reflects his upbringing in Texas. This the 1950s and ‘60s, but it didn’t stop live record is a good primer on his evolving there. It became amalgam- • Jimi Hendrix, Band of Gypsys unique brand of blues music—one ated with rock ’n’ roll (which was of (1970):This is Hendrix’s only that’s the subject of many allusions course rooted in the blues, but also finished album outside of The Jimi in the blues guitarists who would country/western and R&B), and the Hendrix Experience trio, but some succeed him. genre of blues rock became its own would argue Carlos derives more distinctive entity. Here are a few blues influence from it than any other Jimi rock essentials: Hendrix record.

MASTERCLASS • 50 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 12.03 Lightnin' Hopkins (MasterClass) Chapter Tab 6.1 Appears at 2:42 in video lesson

q = 132 - Swing 8ths Œ j ‰ ‰ j < > j j j j j ° 4 #œ œ œ #œ œ œ n œ œ œ #œ œ œ ‰ œ œ < >œ œ Œ & 4ùœ J ‰ ùœ™ œ ˙ b ˙ ˙ #œ n œ œ J < > œ œ œ œ œ œ n œ œ œ œ œ œ œ 4 4 4 4 4 3 3 3 2 2 0 0 0 0 5 0 4 4 4 3 2 1 1 ù ù 2 2 2 2 2 2 2 ¢⁄ 0 0 0 0 0 0 0

5 > > ° œ #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 & œ œ œ ‰ œ œ œ ‰ œ œ Ó œ œ œ œ œ Œ ‰ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ J œJ J œ œJ œ œJ œ œ œ 0 0 >0 >0 0 0 0 0 0 0 8 7 5 8 8 7 0 0 0 0 6 6 6 6 6 6 7 7 7 7 7 7 2 2 2 2 7 7 7 0 7 7 7 0 2 2 2 2 ¢⁄ 0 0 0 0 5 5 5 0 5 5 5 0 0 0 0 0

9 ° > j j 3 3 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 Œ ‰ œ œ œ n œ #œ œ œ œ œ Œ œ œ J œ œ #œ #œ œ œ 0 >0 0 0 0 0 7 7 7 7 5 1 1 8 8 8 8 6 9 9 9 9 7 2 2 2 9 9 7 2 5 4 2 ¢⁄ 0 0 0 7 7 0 5 4 2 4 0

12 œ œ œ œ œ œ œ œ œ j ùœ œ œ œ œ œ œ œ œ ° ‰ œ œ bœ œ< > < >œ #œ œ œ #ùœ œ œ œ œ #œ œ œ œ > & ùœ œ b œ n œœ n œ œœœœ œœ Œ J ‰ J Œ #œ œ œ œ œ™ œ œ Œ Ó œ >œ œ 0 0 12 12 12 12 12 > 12 12 12 12 > 3 3 2 1 0 7 7 12 12 12 12 12 12 12 12 12 4 4 3 2 0 0 4 4 ù13 13 13 13 13 13 13 13 13 ù 7 7 ù ù 6 6 ù 2 2 ¢⁄ 0 0 7 7 5 0 0

MASTERCLASS • 51 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA

- 12.03 Lightnin' Hopkins - 2 Electric Guitar 16 œ œ œ œ œ œ œj œ™ Ó ° #ùœ œ œ œ œ œ œ œ #œ nœ #œnœ#œnœ#œnœ #œnœ#˙~~~~~~~ & œ œ#œ Œ œ œ#œ œ œ™ 1/2 1/2 œ ™ 1/2 1/2 1/2 J œ ‰

12 12 12 12 12 7 7 12 12 12 12 12 12 12 12 9 8 13 13 13 13 13 13 13 13 ~~~~~ 2 ù ~~ 2 2 5 4 ù 3 4 ¢⁄ 5 0 5 20 (Speaking) j j j j ° U Œ #œ ‰ ‰ œ œ œ œ œ #œj œ j ‰ ~ ‰ j ™ ™ œ ~~ #œ œ Œ Ó ùœ œ ˙ b ˙ œ nœ & œ œ #œ œ~ J J œ œ ˙™ (Speaking) 4 4 4 3 3 3 2 2 0 U 0 ~ 1 4 4 4 3 2 0 2 2 ~~ 3 4 ~ ù ¢⁄ 5 0 24 > > ° j ‰ œ œ œ œ œ Œ œ œ œ œ œ Œ j ‰ Œ Ó & < > #œ œ œ #œ œ œ n œ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œJ œ œ œ œJ œ œ œ J 0 0 0 0 >0 0 0 0 0 >0 0 0 1 1 1 1 1 2 2 2 2 2 2 2 2 7 ¢⁄ 0 0 0 0 0 0 0 0 5

MASTERCLASS • 52 12.03 Lightnin' Hopkins TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 12.04 They Slap It (MasterClass) Chapter Tab 6.2 Appears at 0:34 in video lesson

q = 140 - Swing 8ths 3 j ° 4 j Œ œ œ œœ & 4 œ j ‰ Œ ‰ œ œ œ œ œ ¿ ##œ œ œ J œ œ œ J J > œ. full œ œ Œ . 0 0 0 > 0 2 3 0 2 2 0 0 X 3 4 2 2 2 2 2 ¢⁄ 0 0 0

3 œ œ œ œ (slap) j j j > œ œ œ œ ° œœ œœ œœ bœœ œœ™ < > œ #œ œ j #œ œ #œ œ > & œ œ œb œ œ n œ nœ œ # œ œ ‰ ù¿ Œ ‰ ¿ Œ J J < >œ #œ œ J n œ œ œ J (slap) 0 0 0 0 0 0 2 2 > 12 12 12 12 > 3 3 3 2 2 1 0 2 2 12 12 12 12 4 4 4 3 3 2 4 2 2 X 13 13 13 13 X 5 2 1 1 14 14 13 13 2 2 2 2 ù ¢⁄ 0 0

MASTERCLASS • 53 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 12.10 Peter Green - B.B. King (MasterClass) Chapter Tab 6.3 Appears at 7:06 in video lesson

q = 60 - Free tempo

∏ ∏

∏ bœ ˙ œ~~~ ÍÍÍÍÍ ÍÍÍÍÍÍÍ ∏

œ ~~ ∏ œ bœ ∏

° ∏ ∏ œ ∏ œ œ œ œ 4 bœ ÍÍÍÍÍÍÍÍÍÍÍÍÍJ ‰ bœ œ œ bœ œ & 4 full #œ œ

∏ 8 11 U11 11 8

~ 8 11 8 ÍÍÍÍÍ ÍÍÍÍÍÍÍ ∏ ∏ 8 ~~~

8 ÍÍÍÍÍÍÍÍÍÍÍÍÍ ~ 8 10 8 10 ∏ ∏ 10 10 8 ¢⁄ 9 10 3 œ œ œ bœ < > œ U Í < > n œ bœ œ œ œ ° < > n œœ œ œ œ œ bœ< > & œ n œ œ n œ #œ œ 6 œ full

0 13 13 11 8 8 11 U8 Í 11 8 11 8 8 10 10 8 9 9 0 10 10 0 ¢⁄ 9

4 ™ ™ ÍÍÍÍÍ

j ™ bœ œ œ œ œ ™ ∏ ∏

° œbœ œ œ œ œ ∏ œbœ ∏ bœ œ ∏ bœ œœœ ≈ ™ b œ J ≈ œ bœ ‰ œ œœbœœ œ™ & œ œ œ œ full full J ~~ < > 3 œ b œ full n œ œ œ 8 6 6 8 1 11 11 8 11 Í8ÍÍÍÍ 8 8 3 1 8 11 8 6 8 3 1 8 8 8 3 1 10 10 10 8 10 10 10 5 3 10~ ¢⁄ 8 3 1 ~~

MASTERCLASS • 54 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 12.11 Basic Things (MasterClass) Chapter Tab 6.4 Appears at 8:11 in video lesson

q = 160 - Swing 8ths ° . . . > . . . . 4#œ ‰ j ‰ j ‰ j #œ ‰ #œ ‰ j ‰ j ‰ j & 4 œ œ œ œ œ œ œ j< > œ œ œ œ œ œ œ œ n œ œJ œ œ ¿ Œ ¿ ¿ full ¿ Œ ¿ . . . > Œ ...... 2 . . 2 2 2 2 2 2 2 2 0 2 2 2 2 2 2 2 2 2 2 2 0 0 2 2 2 2 2 0 0 3 0 ¢⁄ X X X X X . . . . . 4 ° . 3 . . . . #œ œ ‰ j #œ ‰ j ‰ j ‰ j #œ œ Œ Ó & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ Œ ¿ Ó 1/2 ¿ Œ ¿ > > ...... > > 2 2 . 2 2 2 2 2 0 2 2 2 0 0 2 2 2 2 0 2 2 2 2 0 0 2 2 3 0 0 0 0 ¢⁄ X X X . . .

MASTERCLASS • 55 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 12.12 Another Guitar Player (MasterClass) Chapter Tab 6.5 Appears at 8:23 in video lesson

q = 160 - Swing 8ths ...... ° j j j j j . j .j 4 ‰#œ ‰ œ œ œ ‰ j ‰#œ ‰ œ œ œ #œ ‰ œ œ œ ‰#œ ‰ œ & 4 œ œ œ œ œ œ œ œ œ< > œ œ œ œ œ œ œ œ œ œ œ n œ#œ œ #œ #œ ¿ Œ Œ ¿ ¿ Ó 1/2 ¿ Œ ¿ ¿ ¿ Ó ...... 2 2 2 2 . 2 . 2 2 2 2 2 2 2 2 2 2 2 0 2 2 2 2 0 2 2 2 2 0 2 0 2 2 2 2 2 0 2 2 2 2 0 2 2 2 2 0 2 0 2 5 3 0 4 4 5 ¢⁄ X 3 X X X X X X . . . . (.Speakin.g) . . . 3 5 . 3 3 3 3 ° .j j j . j U ‰ #œ ‰ œ ‰ œ ‰ j ##œ ‰ œ j ‰ Œ œ œ œ œ œ œ & œ œ œ œ œ œ œ j œ œ œ ¿ œ œ > > œ œ œ œ œ œ œ ¿ Œ . (Speaking) œ ¿ . . . . 0. . . >2 > U 2 2 2 2 2 2 2 2 0 2 2 0 2 2 2 0 2 2 0 X 0 15 0 17 0 15 17 0 15 0 17 0 ¢⁄ X X 5 0 . . . 3 8 3 3 ÍÍÍÍÍ ° œ œ j œ œ œ ˙ œ œ œ~~~~ & œ œ œ œ ~~Œ Ó 3œ œ 3 œ œ œ w œ 3 ÍÍÍÍÍ

17 15 0 17 0 15 17 15 17 17 19 19 19 19~ ¢⁄ 0 0 0 ~~~~

MASTERCLASS • 56 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 12.13 Put the Train on You (MasterClass) Chapter Tab 6.6 Appears at 8:43 in video lesson

q = 112 6 ≤ ≥ (Speaking) ° bùœ b œ œ œ œ œ œ œ œ œ œ œ œ#n œ œ œ œ œ œ œ œ œ œ œ U 4 ‰ ‰ ≈ ùbœ bœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ ∑ & 4 R 6 6 6 6 (Speaking)

≤8 ≥8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 U 7 7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 ¢⁄

q = 90 3 ° #ùœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ùœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 & 6 6 6 6 4

¢⁄

With Wah pedal 4 #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 ° 5 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 4 & 4 6 6 6 6 6 4

¢⁄

q 5 = 160 - Swing 8ths ° ...... 4#œ œ ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j & 4 œ œ œ œ œ œ œ œ < > œ œ œ œ œ œ œ œ œ œ œ ¿ œ n œ#œœ œ œ œ œ œ Œ ¿ ¿ Œ ¿ J 3 œ œ 1/2 ...... 2 2 2 2 2 2 2 2 2 0 0 0 0 2 2 2 0 0 2 2 2 2 2 2 2 0 0 0 2 2 2 0 0 3 0 0 ¢⁄ X X X X 0 0 . . .

- 12.13 Put the Train on You - 2 Electric Guitar

3 8 . . 3 ° . . . . . j .j . . j ‰ . ‰ . ‰ j ‰ j ‰ j #œ œ ‰ œ ‰ œ ‰ j #œ œ ‰ œ j 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 œ œ œ#œœ œ œ œ œ œ n œ#œœ œ œ œ œ œ œ œ œ J 3 œ ¿ ¿ J 3 œ . ¿ . . Œ . 1/2 . . . 1/2 ...... 2 2 2 0 2 2 0 2 2 2 2 2 2 2 2 0 0 2 2 2 0 0 2 2 0 0 0 0 2 2 2 2 2 2 2 2 2 0 0 2 2 2 0 0 2 2 0 0 0 0 2 2 2 2 2 0 3 0 0 3 0 0 0 0 0 0 ¢⁄ X 0 X X 0 . . .

12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ° ~ #œ œ œ œ œ œœœ œœ #œ œ œ #œ œ œ œœœ 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 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 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 2 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 2 11 11 11 11 11 11 12 12 11 11 11 11 11 11 11 12 12 2 0 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 ¢⁄ 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

16 œ œ œ œ œ œ œ œ œ~~ œ œ œ œ œ œ œ ° œ œ œ œ œ œ œ œ œœœ 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 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 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 œ œ œ œ œ~~ ~ ¿ ¿~~~ 3 3 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 12 12 12 12 12 12 12 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 ~~~~12 12 12 12 12 12 12 11 11 11 11 11 11 11 11 12 12 11 11 11 11 11 11 ~~~~13 13 13 13 13 13 13 X X ~~~~ 12 12 12 12 X X ~~~~12 12 12 12 12 12 12 12 12 12 12 12 12 14 14 14 14 14 14 14 ⁄ 10 10 10 10 X X ~ ~~~10 10 10 10 10 10 10 10 10 10 10 10 10 ~~~12 12 12 12 12 12 12 ¢ ~~~~~ ~~~~

20 ˙™~ . . ° ˙™~~~~~~ ...... j j #˙™~~~~~~~~ j j ‰ j ‰ j ‰ j ‰ j ‰ œ ‰ œ Œ ˙™~~ ~~~ œ œ ‰ œ ‰< > œ œ œ œ œ œ #œ œ œ œ & ˙ ~~~~~~~ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ ~~~~~~ œ ¿ œ œ œ ~ œ. œ œ Œ œ œ œ œ ...... 12 ...... 0. 0. 12~~~~~~~~~ 2 2 2 2 13~~~~~~~~~ 2 2 2 0 2 2 2 0 0 2 2 2 2 ~~~~~~~~~ 2 2 2 0 2 2 2 0 0 0 2 2 2 2 14 0 3 0 0 ~~~ 0 0 0 0 0 ¢⁄ 12~ ~~~~~~ 0 0 X ~~~~~~~~ ......

12.13 Put the Train on You TRANSCRIPTION & MUSIC PREPARATION MASTERCLASS • 58 BY STEVE AHO CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 6A (MasterClass)

Practice Piece 6A

q. = 90

œj j < > ° #œ œ œ œ œ ™ #œ œ œ œ n œ œ œ 12 œ œ œ œ œ ‰ œ Œ œ œ œ œ b œ ‰ œ œ ‰ & 8 J J J J 4 4 4 4 5 4 2 2 2 2 3 2

4 4 4 4 5 4 2 2 2 2 3 2 ¢⁄

3 ° j < >œ œ bœ œ j j j ‰ ‰ n œ ‰ œb œ ‰ œ œ ‰ œ œ œ ‰ j j ‰ œ œ j j ‰ j &< > J J J J J J #Jœ < > #œ œ œ œ n œ n ¿ œ œ œ œ . 3 3 2 2 1 1 0 4 4 3 3 2 2 0 1 2 1 1 1 2 X 2 2 2 ¢⁄ 0 0

5 ° j ‰ j j ‰ j j < > j ‰ j ‰ ‰ j ‰ j j ‰ j ‰ ‰ j & #œ œ œ œ œ n œ œ j #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1/2 ‰ Jœ Jœ Jœ Jœ Jœ Jœ J J J J J J J

4 4 2 4 4 5 4 0 4 4 2 4 4 2 2 0 0 0 0 0 0 0 ¢⁄ 0 0 0 0 0 0 5

7 ° ™ j ‰ j j ‰ j j j j j ‰ ‰ j ‰ ‰ Œ & #œ œ œ œ œ œ œ œ œ œ j #œ œ ™ œ œ œ œ œ Jœ Jœ Jœ Jœ œ œ Jœ œ Jœ Jœ Jœ Jœ Jœ 1 4 4 2 4 4 5 4 2 2 2 2 2 2 2 0 0 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 0

MASTERCLASS • 59 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA

- 6A - 2 Electric Guitar 9 ÍÍÍ ° > j j j j < > j ‰ j j j j j & #œ ‰ œ œ ‰ œ n œ œ œ ‰ œ #œ œ ‰ ‰ œ œ™ ¿ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ™ J J J J J ÍJÍÍ J J J J > X 4 4 2 4 5 4 2 4 2 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0

11 ° j ‰ j j ‰ j j j ‰ j ‰ ‰ j j ‰ j & #œ œ œ œ œ œ œ œ œ™ œ œ œ j ™ œ œ #œ œ Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ œ Jœ Jœ Jœ ‰ ‰ Œ™

4 4 2 4 4 5 4 2 2 2 2 0 0 1 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0

13 ° j j j j #œj j j j j j > & œ œ ‰ j œ ‰ œ œ ‰ j œ ‰ œ œ ‰< >œ œ ‰ ‰ ¿ ‰ j œ #œ œ œ œ œ œ œ œ œ œ n œ œ J > œ 4 4 4 4 4 4 2 2 2 0 2 X 4 4 2 4 4 4 2 2 2 2 0 2 2 2 ¢⁄ 0

15 ° ™ #œ nœ #œ j j < > j ™ ™ & Œ ùœ œ bœ œ œ œ j ‰ ¿ ¿ ‰#n œ œ™ Œ œ œ œ 4 3 2 œ 0 4 4 3 3 2 0 X X 1 2 2 ù 2 ¢⁄ 0

6A TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO MASTERCLASS • 60 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 6B (MasterClass)

Practice Piece 6B

q. = 109 muted ° 12 j j j Œ ¿ ™ j Œ j Œ™ & 8 œ œ #œ œ œ œ J œ œ #œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ ‰ œ Jœ Jœ Jœ Jœ Jœ Jœ Jœ J Jœ Jœ Jœ Jœ J muted

X 2 2 4 2 5 4 2 5 4 2 2 2 2 2 2 2 2 2 2 2 2 2 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 5

3 ° ™ ™ j j ‰ j j ‰ j Œ Œ ‰ j 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 œ ‰ œ œ ‰ œ Œ œ Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ J Jœ Jœ J J J J J J J J X X X X 2 4 5 4 2 2 2 4 5 4 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 ¢⁄ 0 0 0 0 0 0 0 0 0 0 0 5

6 ° ™ j j ™ ™ j ‰ ‰ j Œ ™ ™ ™ j ¿ ‰ 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 Œ Jœ ‰ Jœ Jœ ‰ Jœ œ#œ œ J J J J J J J J Jœ Jœ Jœ Jœ Jœ Jœ Jœ

X X 5 4 4 4 2 4 5 4 2 2 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 0 1 2 ¢⁄ 0 0 0 0 0 0 0

9 ° Œ j j j Œ j & œ œ œ™™ ¿ j Œ œ œ j ™ œ #œ œ œ ‰ Œ < > œ œ œ œ œ J J Œ n Jœ Jœ ‰ Jœ ‰ Jœ Œ Œ J

4 2 X 0 4 4 2 2 2 2 0 ¢⁄ 2 2 0 0 0 0

MASTERCLASS • 61 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA

- 6B - 2 Electric Guitar

11 ° j j j ™ ™ j ¿ Œ ™ Œ™ & œ #œ œ œ œ #œ œ œ œ™ œ ‰ œ œ ‰ œ œ ‰ œ œ Œ œ œ œ œ Jœ Jœ Jœ Jœ Jœ Jœ Jœ X 2 2 2 2 2 4 5 4 2 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 ¢⁄ 0 0 0 0 0 0 0

6B TRANSCRIPTION & MUSIC PREPARATION MASTERCLASS • 62 BY STEVE AHO CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 6C (MasterClass) Practice Piece 6C

q = 126 - Swing 8ths ° j 3 j 3 j 3 4 œ œ œ œ œ œ œ œ œ & 4 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 n œ œ œ œ#œ œ œ œ n œ œ œ œ#œ œ

5 5 5 5 5 5 7 7 5 5 7 7 5 5 7 7 5 5 7 7 3 3 3 4 5 7 7 3 3 3 4 5 7 7 3 3 3 4 5 ¢⁄ 5 5 5 5 5 5

4 3 ° j 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 J œ œ œ œ J œ œ œ œ œ œ#œ œ œ œ œ œ œ > œ œ œ X X X 7 7 X 7 X 7 7 X 9 7 X 5 5 7 7 5 7 7 7 7 7 7 7 9 7 7 7 5 5 7 7 5 7 5 5 7 5 5 5 7 5 7 7 3 3 3 4 5 ¢⁄ 5 5 3 5 5 5 5

8 ° 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 J œ œ œ œ J œ œ œ œ œ œ œ œ 9 9 X 7 9 X 7 7 X 5 7 X 7 7 7 7 7 7 9 9 7 9 7 7 5 7 7 7 7 7 7 7 7 7 5 7 5 5 3 5 ¢⁄ 5 5 0 5 5 5 5

11 ° j 3 œ œ ‰ œ œ œ Œ Ó & œ œ œ œ œ œ #œ œ #œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ 5 5 1 1 1 7 7 5 5 7 7 3 3 3 4 5 2 2 2 ¢⁄ 5 5 0 0 0 0

MASTERCLASS • 63 CHAPTER 06 LEARNING FROM THE BLUES CARLOS SANTANA Electric Guitar CARLOS SANTANA 6D (MasterClass) Practice Piece 6D

q. = 50 bœ™ ™ œ™ ÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍ ° 12 œ œ œ œ œ œ œ œbœ bœ œ œ j ™ j . & 8 œbœ œ~~~~~‰ bùœ œ œ œ œ œ™ œ ‰ œ full full J . 11 11 ÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍ 10 10 10 10 10 8 8 8 8 5 5 5 10 8 10~~ ù8 8 5 8 5 5 5 8 ¢⁄ ~~ ù 3 ÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ ° œ œ œ œ œ œ œ œ œbœ œ#œ œ œ œ œnœ bœ bœ œ œ œ œ œ œ ™ & œ J œ œ œ œ~~~ full full 1/2 full J

8 10 8 11 8 10 8 ÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ 10 10 10 10 10 10 8 8 10 10 10 8 10 10 10 ¢⁄

MASTERCLASS • 64 CARLOS SANTANA

CHAPTER 07 OPENING YOUR EARS TO RHYTHM

MASTERCLASS CARLOS SANTANA

CHAPTER 07 OPENING YOUR EARS TO RHYTHM

Rhythm diagram of a 2:3 clave.

Rhythm diagram of a 3:2 clave.

when carlos arrived in San A clave is a set of repeating rhythmic clave, where the first measure gets two Francisco in the 1960s, the local music accents that are emphasized on top of accented beats and the second measure scene was filled with rockers playing the groove of a song. This means that gets three accented beats. The classic 3:2 their variations on the blues. From The while the band grooves like it would on and 2:3 claves originate in Afro-Cuban Grateful Dead to Quicksilver to Jefferson any other song, they continually accent music, but different regions have their Airplane to The Electric Flag (featuring certain beats above all others. A clave own take on the pattern. Mike Bloomfield), everyone had their can technically accent any beat, but some own take on the form. Santana was no accents are particularly popular within Carlos also encourages players and different, but what set the band apart certain genres of music. Carlos draws composers to remember time signatures from the start was their approach to particular attention to what’s known as other than the standard 4/4. For instance, rhythm, particularly rhythm driven by a 3:2 son clave, which is a repeating two many classic works have been written conga patterns. Carlos adapted a lot of measure set, where the first measure has in 3/4, and Carlos demonstrates “My conga patterns into his rhythm guitar three accented beats and the second Favorite Things” and “Afro Blue” as two playing, and later on he also brought measure has two accented beats. He such examples. it into his lead playing—marrying the demonstrates a 3:2 son clave via the song blues harmonies of Albert King with the “I Want Candy.” A song like “Oye Como Va” shows how rhythmic accents of Afro-Caribbean a musical composition can be like a percussion. Carlos also sings a pattern in a 2:3 son landscape. Real life landscapes are not clave, which is simply an inverted 3:2 son monotonous: they contain peaks, valleys,

MASTERCLASS • 66 CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA

bodies of water, and islands. So, too, Exercises should a composition contain a variety of musical ideas to keep its listener Dig into the practice pieces in this engaged. There is, of course, lots of chapter. The first is in the style of “I Want commercially successful music that has Candy” by the Strangeloves. The second no such “peaks and valleys” (club music is in the style of “Afro Blue” by Mongo is one such example), but to write and Santamaría. Try setting your metronome play like Carlos, embracing a “landscape” to a low speed and playing in rhythm. If mentality is vital. you find that easy, speed up the metronome until you feel challenged.

Then it’s time to compose your own rhythmic riffs. Listen to these drum/ percussion patterns—an Afro-Caribbean pattern and an American rock pattern— and see if you can copy those rhythms as you play guitar. First try strumming chords in rhythm, and then try improvis- ing a lead line. Let the rhythm be your guide—just like it was for Carlos in 1960s San Francisco.

MASTERCLASS • 67 CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA

LEARN FROM THE GREATS

Clave Patterns Guajira “Oye Como Va”

Clave patterns are all over popular Guajira is a Latin American style As most fans know, “Oye Como music, and not just Latin or Afro- of music that derives from Spanish Va” is not a Santana original; it was Cuban recordings. The key is that flamenco. When Carlos notes guajira, composed by Tito Puente. While most clave accents are surrounded by he also implies a particular chord Santana’s version is considered to be an overall drum pattern, so they may progression: i - bVI - V7, which can be the defining rendition, there are sever- not always jump out to the untrained heard throughout the Supernatural al other versions worth exploring. ear. Listen carefully, though. It’s in record. “Smooth,” for instance, is built there. around an Am - F - E7 progression. • Tito Puente, El Rey Bravo (1962): This is likely the first • “Son de la Loma”: This salsa To take it a step further, check out recorded version of the song that classic (which translates to “they are the 1971 record Santana III (noted in Carlos heard before adding it to his from the hills”) is a good example of the introductory class discography) own catalogue. 2:3 clave buried inside a robust full and cue up track 6 which is titled— rhythmic pattern. Many recordings you guessed it—“Guajira.” Just like • Bobby Hutcherson, Montara exist, but check out one by Carlos’s “Smooth,” the song is built on an (1975): To hear a jazzed up version collaborator Tito Puente on Lo Am - F - E7 progression. Observe the of the song, check out this inter- Mejor De Lo Mejor (1999). way this sets up some awesome solos pretation by vibraphonist Bobby by Carlos, fellow guitarist Neal Schon, Hutcherson. • Bo Diddley, Bo Diddley (1958): and guest pianist Mario Ochoa. If you’ve ever heard someone use • Natalie Cole, Natalie Cole en the term “the Bo Diddley beat,” Español (2013): Few artists have they’re more or less talking about a had more success mining past hits 3:2 son clave. Listen to this debut than Natalie Cole, and “Oye Como recording from the R&B guitar Va” was no exception. She won a legend to hear for yourself. Grammy for this recording.

• The Crickets, Not Fade Away (1957): The fatal plane crash that killed Ritchie Valens (highlighted in Chapter 4: Finding Your Sound) also killed young rock ’n’ roll phe- nom Buddy Holly, who recorded this single as the frontman of The Crickets. “Not Fade Away” was cut in Clovis, New Mexico—not far from Holly’s hometown of Lubbock, Texas—and features the Bo Diddley beat mentioned above.

MASTERCLASS • 68 CARLOS SANTANA CHAPTERElectric 07 Guitar OPENING YOUR EARS TO RHYTHM CARLOS SANTANA 0 .0 Classical Music 7 1 (MasterClass)

Chapter Tab 7.1 Appears at 0.16 in video lesson q = 112 ÍÍÍÍÍÍÍÍÍÍÍ ° j 3 ‰ œ œ œ œ œ# œ œ œ œ ˙ œ œ œ ˙ 4 & 4 J 4 ÍÍÍÍÍÍÍÍÍÍÍ 445 767676 7 945 5 ¢⁄ Free Tempo 3 q = 123 4 œ œ ° œ œ œ œ œ œ œ œ œ œ. œ œ 4 j œ œ ‰ œ ‰‰ œ œ œ œ œ œ ‰ œ ‰Œ & 4 œ œ J J J œ œ 8 87 5 5 . 6 5 5 5 65 5 655 6556 86 65 7 ¢⁄ 8 7 0 Electric Guitar CARLOS SANTANA

7.02 Jingo (MasterClass) Chapter Tab 7.2 Appears at 0.44 in video lesson

q = 118 >œ >œ >œ j ° 4 #œ œ #œ œ œ & 4 ≈ #œ œ œ ≈ ¿ œ #œ œ œ œ ≈ œ œ œ ‰ Œ œ œ œ ¿ œ œ œ ¿ œ œ œ œ œ P.M. ¿ P.M. ¿ P.M. ¿ > >7 >7 >7 > 7 7 7 7 7 7 7 7 7 7 9 9 9 9 9 9 9 9 9 X 9 9 9 9 9 9 9 9 ¢⁄ 7 7 7 X 7 7 7 X 7 7 7 7 7 P.M. ¿ P.M. ¿ P.M. ¿

MASTERCLASS • 69

Chapter Tab 7.3 Appears at 1:30 in video lesson

q = 118 >>œ œ ° 4 r #œ œ r & 4 œ ≈ œ ≈ ¿ œ œ œ œ ≈ œ Œ œ# œ œ œ ¿ œ œ œ P.M. ¿ P.M. ¿ >>7 7 7 7 7 7 9 9 9 9 9 9 X99 9 9 9 ¢⁄ 7 7 7 X 7 7 7 P.M. ¿ P.M. ¿

Electric Guitar CARLOS SANTANA .0 What the Hell is That? 7 4 (MasterClass)

Tab 7.4 Appears at 1:43 in video lesson

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MASTERCLASS • 70

7.05 Conga Pattern (MasterClass)

Chapter Tab 7.5 Appears at 2:26 in video lesson

q = 126 3 ° j œ œ#œ j 4 #œ œ œ j r‰ j Œ‰ œ ≈œ œ œ Œ‰ j≈ r‰ œ & 4 Œ‰j ≈ ‰ œ Œ‰j ≈œ œ# œ# œ œ œ j œ œ #œ œ J œ œ œ œ œ œ R œ œ œ œ. œ. . 7 7 . 7 7 7 7 7 7 9 7 7 7 9 9 7 7 9 2 7 7 9 9 9 7 7 9 ¢⁄ 05 5 7 7 7 7 05 5 7

5 (sung) œ™ œ œ œ™ œ œ ° œ œ œ œ œ & Œ‰J ‰ ¿ ¿ ¿ ¿ Goong ging ging- goong ka ta ka ta Goo goo- ging ging goong

¢⁄

7 (played) ° 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. 7 œ œ 7. CARLOS SANTANA Electric Guitar 9 9 9 7 XXXX 7 7 7 9 9 9 7 7 7 9 9 9 9 0 7 7 9 9 9 ¢⁄ 7 7 7 005 5 7 7 7 7.06 Conga Phrasing 1 (MasterClass)

Chapter Tab 7.6 Appears at 3:48 in video lesson

q = 80 . . -œ . œ. œ. œ œ. œ. . œ. œ. . . œ. . . . U U ÍÍÍ™ ° œ. œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ# œ œ œ. 4 ‰ ŒÓ & 4 333 333 full 1/2 ..12- ...... 13 12 15 13 12 13 12 ...... 12 . 13 15 15 12 15 13 15 13 12 15 13 13 10 ÍÍÍ 14 14 12 ¢⁄ 04.05 Conga Pattern Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

MASTERCLASS • 71

7.07 Conga Phrasing 2 (MasterClass)

Chapter Tab 7.7 Appears at 4:04 in video lesson

q = 80 œ œ# œ œ œ ™ œ# œ ° œ œ œ œ œ œ œ œ œ œ œ œ~~~~~~~ 4 ≈ Ó & 4 1/2 1/2 12 14 12 13 13 12 15 12 13 12 12 14 14 14 14~~~~~~ ¢⁄

Electric Guitar CARLOS SANTANA .0 All Musicans Do This 7 8 (MasterClass)

Chapter Tab 7.8 Appears at 4:37 in video lesson

q = 108 . œ œ ° œ œ bœ œ œ œ œ œ œ œ bœ œ œœ œœ œœ œœœœ œœ œœ 4bbœ œ ¿ œ ≈ œ ≈ ¿n≈œ œ ¿ ¿ bœ œ ¿ œ ≈ œ ≈ & 4 R œ R œ œ œ 8 8. 8 8 8 8 9 8 8 8 9 9 8 8 8 8 8 8 8 8 X 10 10 10 X 10 10 X X 8 8 X 10 10 10 10 10 10 10 10 8 8 10 10 9 9 10 10 10 10 ¢⁄ 10 10 10 3 œ œ œ œ œ œ œ ° œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ & œ b≈œ œ ¿n œ ¿ œ œ œ œ ‰ b œ ≈ œ ‰≈œ ‰ œ œ ‰ J J œ R J J R 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 10 X 10 X 10 10 10 8 8 8 8 8 10 8 10 10 9 9 9 8 7 8 8 8 ¢⁄ 10 10 10 10 0 04.07 Conga Phrasing 2 Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

MASTERCLASS • 72

04.08 All Musicans Do This Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTERElectric 07 Guitar OPENING YOUR EARS TO RHYTHM CARLOSCARLOS SANTANA SANTANA .0 Like a Break 7 9(MasterClass)

Chapter Tab 7.9 Appears at 4:49 in video lesson

q = 108 œ œ œ œ œ ° œ œ œ œ œ œ œ œ œ œ 4 Ó œ œ œ œ œ ‰ bbœ ≈ œ ‰≈œ ‰ œ œ ‰ & 4 œ œ œ œ œ J R R J J 8 8 8 8 8 8 8 8 8 8 10 10 10 10 10 8 8 8 8 8 9 9 9 9 9 8 7 8 8 8 ¢⁄ 10 10 10 10 10 3 œ œ œ œ œ œ ° bœ œ œ œ œ œ œ œ œ œ œ bœ œ œbœ œ œ œ œ 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 œ œ œ R œ 8 8 8 8 8 8 8 8 8 8 8 9 8 8 10 10 10 10 10 10 10 X X 8 8 8 10 10 10 10 10 10 10 9 9 9 9 9 9 9 10 10 10 10 9 9 9 9 10 10 10 10 10 10 10 10 10 10 10 Electric¢⁄ Guitar 10 10 10 8 CARLOS SANTANA10 . Clave 1 7 (10MasterClass) Chapter Tab 7.10 Appears at 4:59 in video lesson

q = 108 3 >> bœ œ œ œ œ ° œ œ œ œ œ ùœ œ œb œ œ œ œ œ 4bbœ ≈ œ ‰≈œ ‰ œ œ ‰ j ‰Œ ùœb ‰‰J & 4 œ œ 3 J R R J J œb œ œn œ 8 8 8 8 8 œ œ œ œ >>8 8 8 11 11 11 10 10 8 8 8 8 8 8 8 8 11 11 11 10 10 8 8 8 8 8 ù8 8 7 8 8 8 3 ù 1 1 23 ù ¢⁄ 3333 Slower q = 87 A Tempo 4 œ œ< > b Ÿ œ œ œ œ œ œ ° œ œ n œœ# œb œ œ œn œ œ# œn œb bœ bœ œ œ bœ œ œ œ œ ≈ œ ™ œ ‰< >œ œ ‰ œ ‰ œ ≈ œb ‰≈œ ‰ œ œ ‰ & 3 œ™ n œ œ R R J J b œ J J J J 8 8 7 œn 8 8 8 8 8 8 8 8 7 98 87 8 9 9 8 8 8 8 8 Ÿ 10 10 8 8 8 8 10 8 8 8 8 8 10 10 10 10 9 5 8 8 8 8 10 8 8 10 ⁄ 0 8 04.09¢ Like a Break Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

MASTERCLASS • 73

04.10 Clave 1 Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA Electric Guitar CARLOS SANTANA .1 Primitive Music 7 1 (MasterClass) Chapter Tab 7.11 Appears at 6:39 in video lesson

q = 100 (volume on) œ œ# œ ~ ~ ~ ° ~ 4 ¿ ¿ œ ¿ œ≈œ œ ¿ ¿ œ œ ¿ œ≈œ œ œ #œœ œ ¿ œŒ ¿ ~ & 4 ¿ ¿ œ œ œ œ œ œ œ œ œ œ œ œ# œœ œ œ œ œ œ œ ¿ ¿ P.M.œ œ œ œ œ œ œ œ œ œ œ œ œ¿ 1/2 œ œ œ œ P.M.œ œ ¿ 1/2 ¿ ¿ 15 X X ~ 16 ~ X X ~ X ~ X X 75 ~ X X 7X7 7 7 XX 7 7X7 7 57 7 7X7 X X 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 ¢⁄ X X 5 5 5 5 5 5 55 5 5 5 5 5 5 5 5 5 5 5 P.M. ¿ P.M. ¿ ™ æ 3 4 œ™ ~~œ #œ œ œ œ < >œ œ œ œ# œ œ ÍÍÍÍ ° æ æ œ œ œ# n œ œ# nœ œ# œn œ œ œ æ æJ ¿ ≈ ¿¿ & œ œ œ œ œ < > æ æ 1/2 1/2 1/2 1/2 œ œ œ œ œ œ n œ œ ~~15æ 14æ 12 12 12 12 12 14 12 œ œ 17 15 13 13 13 13 12 12 ÍÍÍÍ 0 14 14 XX 7X7 7 7 7 7 7 7 30 ¢⁄ 5 5 5 5 0035 7 œ ° bùœœb ~~~ ¿ ≈ ¿ ≈ œ ≈ œ ¿ œ ≈ œ œ Œ ùæ & œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ æ œ œ œ œ œ œ œ œ œ œ œ < > œ œ œ œ œ œ æ n œ œ# œ æ8 7 ù8 ~~~ 7X7 7 75 7 7X7 7 7 7X7 7 7 ù 7 7 7 7 65 3 0 7 7 7 7 7 73 7 7 7 7 ù ¢⁄ 5 5 5 5 5 5 5 5 5 0 25 05 5 5 5

MASTERCLASS • 74 CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA

- 04.12 Primitive Music - 2 Electric Guitar with wah pedal 10 # œ™ œ œ œ #œ œ œ œ œ #œ œ œ ° ~~<~n~>~<~ >œ™ œ œ œ œ œ œ œ #œbœ œ œ næœ œ œ ¿ & æ J 3 3 3 3 3 1/2 æ with wah pedal æ9 9 9 9 9 9 9 8 8 9 9 8 5 5 8 8 8 8 7 7 ~~~~~~ 9 9 9 9 8 8 X ¢⁄

13 œ no pedal jU ° œœœœœœœ œ ™ 2 & #œœœ< > < >œ œ¿ œ≈œ œ œœœ#œœnœœ œ œ¿ œ≈œœ œ œ™ 4 n œbœœœ n œ œ œ œ œ œ œ œ œ œ nœo pœedal œ œ œ œ œ œ 10 10 8 0 3 1 9 9 7 9 6 2 2 X 2 2 2 0 0 0 1 2 0 2 2 2 X 2 2 0 2 0 7 5 2 2 2 2 2 2 2 2 2 0 ¢⁄ 7 6 5 3 0 0 0 0 0 0 0 0 0

16 ° U ~ œœ œ œ œ œ œ œ œ~ ~ 2 4 ~ ~ ~ ¿ ¿ œ œ œ œ œ œ œ ~ œœ œ œ œ œ œ œ œ~~~~ ~¿ ~ & 4 œ 4ù ~ ~ ~ ~ ~ œ œ #œ œ œ œ œ œ œ ~ ~ ~~ ~ ~ œ œ œ ù œœ œ œ œ œ œ œ œ~~ ~ œ œ œ ~~ œ œ œ œ œ œ ùœ œ œ œ œ œ œ ~~~ œ œ ~ œ œ X X X 5 3 9 9 9 9 9 9 9 ~12 12 12 12 12 12 12 12 12 ~~ ~ ~~ 5 3 9 9 9 9 9 9 9 ~ 12 12 12 12 12 12 12 12 12 5 5 ~ ¢⁄ 3 1 ù7 7 7 7 7 7 7 ~ 10 10 10 10 10 10 10 10 10 0 0 7 0 0 7 ù ~~~~

MASTERCLASS • 75

04.12 Primitive Music TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CARLOS SANTANA ElectricCHAPTER 07 Guitar OPENING YOUR EARS TO RHYTHM CARLOS SANTANA .1 Clave 2 7 (M2asterClass)

Chapter Tab 7.12 Appears at 7:48 in video lesson

q = 128 ° œ œ œ œ œ œ 4 œ œ œ œ œ œ & 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ 5 5 5 5 5 5 œ 5 5 5 5 5 5 5 X5XX5X5 XXX5X5X 7 ¢⁄ 5

3 ° œ œ œ œ œ ~~ œ œ~~ œ j œ œ œ œ œ œ #œ œ œ œ œ ‰ œ ‰Ó & ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ J 5 5 5 5 5 7 7 5 œ 5 5 5 5 5 5 ~~~ 7 7 ~~~ 5 5 5 5 X5XX5X5 XXX5 7 7 5 5 5 5 7 Electric Guitar 7 CARLOS SANTANA ¢⁄ 5 .1 This Kind of Music 7 3 (MasterClass)

Chapter Tab 7.13 Appears at 9:14 in video lesson

q = 190 ° œ œ œ œ 3 j œ j œ j #œ j œ j œ & 4 ™ œ œ# œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ 5 7 5 5 5 7 5 5 5 7 7 5 5 7 7 99 9 9 7 7 7 7 ¢⁄ 5 5 7 7 7 5 5 5 5

4 ° œ œ œ œ œ j #œ j œ j œ j œ #œ ŒŒ & œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ 7 7 5 5 7 7 7 5 5 7 7 7 5 5 7 5 5 9 9 9 9 7 7 7 7 9 9 ¢⁄ 7 7 7 7 5 5 5 5 7 7

MASTERCLASS • 76

04.15 This Kind of Music Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA Electric Guitar CARLOS SANTANA .1 Staccato 7 (M4asterClass)

Chapter Tab 7.14 Appears at 10:06 in video lesson

q = 216 ° œb œ œ œ œ œ 4 œb œ œ œ œ œ œ J J œ œb œ œ & 4 œ J J J J J J

8 9 88 8 8 87 10 8 87 10 10 ¢⁄

Electric Guitar CARLOS SANTANA

7.15 Guajeo (MasterClass)

Chapter Tab 7.15 Appears at 10:12 in video lesson

q = 160 ™ ™ ° 4ùœ œ œ œ ˙ œ œ œb œ œ œ œ œ œ œ ˙b & 4 3 3

8 10 8 7 8 10 12 10 8 ù12 12 12 ¢⁄ Faster q = 220 4 ° œ œ bœ œb œ œ œ œ j ŒŒ & œ J J J œ

8 9 8 8 5 10 10 ¢⁄ 10 10

MASTERCLASS • 77

7.16 Guajira (MasterClass)

Chapter Tab 7.16 Appears at 11:12 in video lesson

q = 87 ° < > œ 4 j œ œ œ œ n œ œ œ 4 œ œ < >œ ¿ œ ¿ œ & 4 ‰ œ# œ# œ 4 œ# œ n œ œ #œ œ œ œ œ œ œ œ 5 6 5 5 6 3 5 57 7 7 7 5 X 5 X 1 46 7 6 5 7 2 7 7 77 7 ¢⁄ 7 5 4 < > (speaking) ° œ n œ œ# œn œ œ œ œ œ œ œ U œ ‰≈R œ œ ‰ œœ j ‰ ∑ & œ 3 œ œ œ 5 8765 5 7 979 57 5 75 ¢⁄ 753 7 (speaking) ÍÍÍ ° œ U œ œ œ œ ¿ œ ‰ ù œ œ œ œ œ ¿ œ œ œ & œ œ œ œ œ œ j . œ. œ œ #œ œ œ œ (speaking) œ œ U .. 5 œ 6 5 ÍÍÍ 6 5 5 X 7 75 5X 5 7 5 5 7 ù 75 7 77 6 7 5 7 5 5 7 ¢⁄ 5 5 7 5 5 0

10 < > j ÍÍ (speaking) œ n œ œ œ œ œ œ œ œ œb ° œ œ œ# œ œ œn œ œ œ œ œ œ œ U Œ J ‰ œ œ Œ 2 & 3 3 3 33 œ œ 4 1/2 œ œ 12 15 12 15 12 12 13 14 15 13 15 15 17 16 15 12 15 15 15 13 ÍÍ 14 5 5 7 7 5 ¢⁄ 5

MASTERCLASS • 78 CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA

- 04.20 Guajira - 2 Electric Guitar

13 (speaking) ° < > #œ U œ 2 j 4 œ œ œ œ n œ œ œ œ œ œ ‰ j œ œ œ œ œ œ & 4 ‰ œ #œ#œ 4 œ œ #œ#œ œ U(speaking) 5 6 5 9 5 5 6 5 5 5 7 7 7 1 5 5 7 7 4 6 7 4 7 ¢⁄ 7 7 17 ÍÍÍÍÍÍ j ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ & œ œ œ œ #œ œ œ œ œ œ nœ œ œ œ œ œ#œ œ œ œ œ œ œ œ 8 ÍÍÍÍÍÍ 5 7 9 7 5 4 5 7 7 7 7 5 5 7 7 7 6 6 6 6 5 5 5 7 7 6 7 5 7 7 7 7 5 7 ¢⁄ 5 7 7 7 5 3 21 ÍÍÍÍÍÍÍÍÍ œ œ ° j j ™ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ˙ ≈ #œ œ œ Œ ≈ œ ‰ œ & œ J 1/2 3

5 7 7 7 5 ÍÍÍÍÍÍÍÍÍ 5 5 7 9 9 9 9 9 14 13 14 ¢⁄

24 3 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 œ œ œ œ œ œ œ 3 5 œ œ 12 13 12 8 5 5 7 5 4 5 2 5 7 7 7 7 7 5 2 2 7 6 6 ¢⁄ 5 3 0 0 5 7 7 < > ÍÍÍÍÍÍÍÍ

27 n œ #œ nœ œ œ œ œ œ œ ∏

° œ œ œ œ œ œ œ œ ∏ œ œ ∏ J ‰ ≈ J ‰ ∏ œ & 3 3 3

15 14 13 12 13 1Í2ÍÍÍÍÍÍÍ 12 ∏ 5 7 ∏ 13 13 13 13 13 15 ∏ 5

14 14 5

∏ ∏ ¢⁄

MASTERCLASS • 79 04.20 Guajira TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA

- 04.20 Guajira - 3 Electric Guitar Faster q = 120 poco accel. 29 ÍÍÍÍÍ œ œ œ œ œj œ œ œ œ œ œ œ ° œ œ œ œ œ œ œ 2 & 4 Í8ÍÍÍÍ 10 8 7 7 5 5 5 5 12 5 7 8 10 8 7 5 8 8 ¢⁄ Tempo Primo q = 87 ÍÍ 32 U ° œ œ œ œ j < > j œ œ œ œ œ œ œ œ œ œ œ œ œ n œ 2 4 ‰ œ œ œ #œ œ œ œ œ œ œ œ œ ‰ & 4 3 4 œ œ œ J 5 5 8 5 U 5 6 8 6 Í5Í 5 5 5 6 5 8 5 7 4 7 7 5 4 5 5 7 7 6 0 7 7 7 7 7 ¢⁄ 7 7

36 < > b ™ œ œ ÍÍÍÍ œœ œ n œ Ÿœ æœ œ#œ ° < > œ œ œ æ æ æ æ æ æ æ æ æ æ #œnœ œ œ œ œ œ n œ œ ‰ æ æ æ æ æ Œ & œ#œ œ œ œ œ#œ æ æ æ æ b æ æ æ æ æ 7 æ8 1æ0 1æ2 1æ3 1æ2 1æ3 1æ4 1æ5 1æ7 7 6 5 6 Í5ÍÍÍ 6 10 4 4 7 9 6 6 7 Ÿ ¢⁄ 5 6 7 7 “” 3 39 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 n œ ‰ ≈ œ & 3 3 full full 1/2

22 22 20 22 22 22 20 22 24 22 20 22 24 22 17 17 19 19 17 17 12 15 14 18 ¢⁄ rit. 41 : ; “ 3 ÍÍÍÍÍ ° œ œ œ #œ œ œ œ œ~~~~~ ‰ œ 3 œ œ 4< > Ó & 3 J 4 3 œ œ #œ 4 n œ œ œ œ 13 12 13 12 ÍÍÍÍÍ ~~~~~~~ 5 8 7 6 5 6 5 5 4 ¢⁄ 7 8 7 8 7

MASTERCLASS • 80 04.20 Guajira TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA Electric Guitar CARLOS SANTANA 7A (MasterClass) Practice Piece 7A

q = 220 ° j 4 ¿ œ Œ ‰ j ¿ ¿ œ Œ œ ‰ ¿ ¿ œ Œ & 4 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 X 7 X X 7 9 X X 7 7 7 7 5 5 7 7 7 9 7 7 7 7 7 7 7 5 7 5 5 7 7 5 7 7 7 7 7 5 7 ¢⁄ 5 5 3 3 5 5 5 5 5 5 5

6 ° œ j ùœ œ œ œ œ ‰ j œ ¿ œ ¿ œ Œ œ ‰ œ œ œ Œ ‰ J Œ Œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 5 3 3 5 X X 7 9 ù 5 5 7 7 7 9 7 7 7 5 5 7 7 5 7 7 7 7 ¢⁄ 3 3 5 5 5 5 5

11 ° œ œ œ ˙ œ j j œ ‰ œ Œ œ œ Œ ¿ Œ ‰ J Œ Œ œ ‰ œ Œ œ ‰ œ œ œ Œ & J œ œ œ œ œ œ 5 5 5 3 5 œ œ œ œ 5 5 3 5 X 7 9 7 7 9 7 7 7 7 5 7 7 7 7 ¢⁄ 5 5 5 5

MASTERCLASS • 81 CHAPTER 07 OPENING YOUR EARS TO RHYTHM CARLOS SANTANA Electric Guitar CARLOS SANTANA 7B (MasterClass) Practice Piece 7B

q = 130 - Swing 8ths ° œ™ œj ™ œ™ œj ™ 3 œ™ œ #˙™ œ™ œ #˙™ œ. œ œ œ j œ œ œ & 4 œ™ œ Œ ˙™ œ™ œ Œ ˙™ œ ‰ œ ‰ J ‰ œ œ ‰ J ‰ œ™ œ #˙™ œ™ œ #˙™ . J J œ5 œ5 œ5 œ5 . . 5 5 7 5 5 7 5 6 5 6 5 5 5 7 5 5 7 5 7 5 7 5 5 7 5 5 7 7 7 7 7 9 7 7 9 ¢⁄ 5 5 7 5 5 7 8 ÍÍÍÍÍ ° œ...... œ œ œ ‰ œ œ œ œ œ œ œ. j ‰ œ ‰ œ œ œ œ œ & œ. J ‰ J ‰ J œ œ ˙ œ~~ ùœ. J ‰ J ‰ J ...... 8 6 5 5 6 5 ÍÍÍÍÍ 5 6 5 5 7 5 7 5 5 7 5 7 7 5 7 7 ¢⁄

15 ° œ. . . . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ™ & ‰ J ‰ J œ. ‰ J ‰ J ‰ J œ œ œ ˙ ...... 5 6 5 8 6 5 5 6 5 5 5 7 5 7 5 7 7 5 5 7 ¢⁄

MASTERCLASS • 82 CARLOS SANTANA

CHAPTER 08 MELODY IS SUPREME

MASTERCLASS CARLOS SANTANA

CHAPTER 08 MELODY IS SUPREME

“Lead… chords… I’m saying that both are good. But for me, melody is supreme.”

carlos uses this lesson to dis- breathing (introduced in Chapter 2: In drafting his famous instrumental com- tinguish between chordal playing and Practice As Musical Offering), and Carlos position “Europa,” Carlos practiced his “leads”—which are effectively melodies reminds us of the importance of proper technique of playing a poem. In this case, laid on top of the chords. As anyone preparation. Sometimes the best way to the poem itself was written by Carlos; familiar with Carlos’s playing is well aware, prepare for a round of fast playing is to he composed it to help a friend dealing he is most definitely a “lead” guitarist! focus on thinking “slow.” with a bad acid trip. The opening notes of the song mimic the cadence from a Albert King once famously said that he “Look at any poem by anyone that you line of the poem: “The mushroom lady is gets paid the big bucks to play leads, not love and, then, try… putting notes to coming to town.” chords. This isn’t to say that a band can it.” thrive with only great melodic players. “You’re taking more liberties and Any good lead guitarist is indebted to his When writing a melody for guitar, Carlos you’re putting more garlic and more rhythm section; without a solid groove uses a technique he calls playing a onions in it, you know, to give it more from the bass, drums, and perhaps a poem, wherein he reads a piece of po- flavor.” keyboard or second guitar, a lead guitarist etry (it can be any kind) and improvises will be unmoored. Even if you aren’t a melody to represent the written words The poem at the root of “Samba Pa Ti” playing chords in your band, it’s essential of the poem. Playing a poem can go was inspired by an encounter with a New to listen to the players who are playing beyond literal poetry—you can provide York saxophonist. It begins: “Through those chords, so that your melodies serve musical accompaniment to anything in every step in life you find freedom from the song’s harmonic structure rather than your life, from an outdoor landscape to within.” And that phrase—freedom from fight it. Carlos describes such listening as a car chase on TV. Filling your mind with within—is what anchors all the musical “being present,” and he suggests that the images and stories, and then attempting choices Carlos makes in this piece. best way to be present is to slow down. to represent those concepts in music, can This returns us to the notion of proper be a great way to find inspiration.

MASTERCLASS • 84 CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA

“The silence is the real shaking hands LEARN FROM THE GREATS with the listener and acknowledging their presence in front of you.” The Notes You Don’t Play • Wayne Shorter, Native Dancer (1974): Of all of Carlos’s many col- Carlos, who played with Miles Davis, also On the topic of Miles Davis and silence, laborators, it’s probably saxophonist draws inspiration from the jazz master’s it’s worth hearing how he put silence Wayne Shorter who has the greatest remark that “it’s not the notes you play, into action in his own music. pure jazz bona fides. This foray into it’s the notes you don’t play.” Finding Latin jazz finds Shorter collaborating opportunities to rest and be silent is • Miles Davis, Sketches of Spain with Herbie Hancock and the highly essential for composers and performers (1960): This classic record evokes underrated Jay Graydon on guitar. alike. Without silence, music becomes images of Spanish flamenco and gypsy an assault. But since music is supposed music while never straying from Miles • Stevie Ray Vaughan, Texas Flood to be an offering to the listener, offering Davis’s signature sound, as developed (1983): Famed for his tone and his moments of silence invites the listener to on albums like Birth of the Cool (1957) “Jimi Hendrix by way of Texas” swag- participate in the music. and Kind of Blue (1959). Silence and ger, Stevie Ray Vaughan is the most restraint are all over this record, along celebrated blues rocker of the 1980s. When composing songs, Carlos creates with some truly virtuosic playing. different moments—“islands” give the “Europa” song space to breathe, while the hero • Miles Davis, In a Silent Way phrases inspire a “wow” moment in the (1969): Perhaps the name says it all? A song as emotional as “Europa” listener. In fact, the “silence” on this record manifests differently in different is overstated; the record is much performance settings. Listen to these Exercise more focused on melding groove and three renditions and note the ways that texture with traditional jazz idioms the emotional context surrounding the Practice playing a poem using this aria and is required listening for musicians song changes the way Carlos plays it. from the opera The Bohemian Girl, by of pretty much all genres. The record Michael William Balfe (with lyrics by features many Santana collaborators • Santana, Amigos (1976): “Europa” Alfred Bunn). including saxophonist Wayne Shorter is track 6 on this record, where it first and guitarist John McLaughlin. Jazz debuted in studio form. “I Dreamt I Dwelt in Marble Halls” fans will always debate which Miles (1843) Davis album was his best, but if you • Santana, Moonflower (1977): named In a Silent Way, you wouldn’t “Europa” can be found on track 10, I dreamt that I dwelt in marble halls, get much pushback. recorded live one year after its studio With vassals and serfs at my side, debut. And of all who assembled within those But it isn’t just Miles Davis and B.B. walls, King who’ve made their name through • Santana, Viva Santana! (1988): 11 That I was the hope and the pride. silence, space, and deliberate simplicity. years after its first live release, “Europa” Listen to these more recent examples is heard in a new form on track 5 of I had riches too great to count, could boast of intentionally spare playing to gain disc 2. Of a high ancestral name, ideas for your own work. But I also dreamt, which pleased me most, That you loved me still the same.

MASTERCLASS • 85 CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA Electric Guitar CARLOS SANTANA 0 . Solo 1 8(M03asterClass) Chapter Tab 8.1 Appears at 8:07 in video lesson

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MASTERCLASS • 86 CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA

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MASTERCLASS • 87 06.09 Solo 1 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA

- 06.09 Solo 1 - 3 Electric Guitar j 26 œ ° œ œ œ œ œ œ œ œ œ œ œ œ œ j ™ J ‰ œœ œœ œœ œœ œ˙ œ œœ & 3 1/2 J

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MASTERCLASS • 88

06.09 Solo 1 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA Electric Guitar CARLOS SANTANA 0 . Solo 2 8(M04asterClass) Chapter Tab 8.2 Appears at 9:24 in video lesson

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08.06 Saying Something (MasterClass) Chapter Tab 8.3 Partial - last line is used at 12:56 in video lesson

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MASTERCLASS • 90 CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA Electric Guitar CARLOS SANTANA 0 . Idea from Miles Davis 8 07 (MasterClass) Chapter Tab 8.4 Appears at 13:07 in video lesson

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MASTERCLASS • 91 CHAPTER 08 MELODY IS SUPREME CARLOS SANTANA Electric Guitar CARLOS SANTANA 8A (MasterClass) Practice Piece 8A

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MASTERCLASS • 92

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MASTERCLASS • 93 CHAPTERElec t08ric Guitar MELODY IS SUPREME CARLOS CARLOSSANTA SANTANANA 8D (MasterClass)

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MASTERCLASS • 94 CARLOS SANTANA

CHAPTER 09 THE MUSIC BEYOND THE PAGE

MASTERCLASS CARLOS SANTANA

CHAPTER 09 THE MUSIC BEYOND THE PAGE

“I got volumes of life that I learned from Tijuana and San Francisco.”

for carlos, playing guitar is composed most of the song while staring patterns—you’ll develop the range of about much more than sheet music—it’s directly into Carlos’s eyes. From many what your instrument can produce. It about life. of the song’s lyrics to its iconic A minor will be able to both pray and cuss. It will guitar lick—which he dictated to Carlos— be able to represent ideas that may be When it comes to reading music, Carlos the song seemed to pour out of him on too abstract to put in spoken or written learned from his father but admits to los- the spot. words. ing much of his sight-reading technique over the years. Indeed, some of the great “He made the song on the spot by Over the years, Carlos has leveraged his legends of music were not readers—in- looking in my eyes.” technique to let his music communicate cluding jazz players like Wes Montgomery with the world around him. Early in his and Sidney Bechet, along with more rock On “Maria Maria,” Carlos blends acoustic childhood, he witnessed his father “talk” players than we could possibly name. For and electric playing, creating dialogue to a bird using his violin. He’d play a session players, who are hired to come between the two guitar parts. The acous- high melody to call out to the bird, and to a studio and play on other people’s re- tic parts, particularly near the top of the the bird would respond. To Carlos, this cords, being able to read notes on a page song, invite the listener in and establish a demonstrated that any creature in the is tremendously important. The titans of mood. The electric guitar then provides a world can be spoken to via music—most jazz, like Miles Davis and Herbie Hancock, visceral punch to both the acoustic guitar notably humans. And once you speak were and are excellent sight-readers, but part and to the listeners themselves. to other creatures through music, you they are most famous for their abilities to can similarly receive messages back from compose and improvise. “Now you can pray, and you can cuss.” them—messages that you can integrate into your next musical piece. Carlos describes the “Maria Maria” As you develop the rudiments of songwriting process as an intense session technique—from scales and chords to with vocalist Wyclef Jean, where Wyclef proper physical posture and breathing

MASTERCLASS • 96 CHAPTER 09 THE MUSIC BEYOND THE PAGE CARLOS SANTANA

Learn From Santana’s Early Hits Meanwhile Carlos considers “Oye Como “When you get past evil ways, you get Va” to be a conversation between two to consciousness revolution.” After experiencing great success as a people. The guitar part both calls and groove-based jam band, Santana broke responds to itself, mimicking human At this point in his life, Carlos has through on radio with a trio of cover language before finally resolving with one little affinity for the song’s lyrics, which songs: “Black Magic Woman/Gypsy voice telling the other to “get out of here, concern a man suspecting that his lover Queen,” “Oye Como Va,” and “Evil man.” is cheating. Instead, Carlos embraces the Ways.” song’s conscious groove and instrumental “This is a [course] beyond the note beauty—things that allow it to be a “You should be in charge of the and beyond the chords. This is about positive force no matter what the lyrics situation with you and your guitar. If a code of honor and how to carry may be. your guitar is playing you, most of yourself through life—with music by the time, it’s not that good.” your side.” Exercise

“Black Magic Woman” was composed Santana was introduced to “Evil Ways” The best way to embrace Carlos’s admo- by Peter Green for the early version of by Bill Graham, who wanted to push nition to not let the guitar “play you” is to Fleetwood Mac. One thing that top the band’s jam abilities toward more compose music away from the guitar. It’s blues players like Green, B.B. King, and conventional song structure. “Evil Ways,” relatively easy to pick up the instrument Carlos Santana have in common is that composed by Willie Bobo, seemed like and write a song based on something they don’t merely default to what feels a halfway meeting point. It luxuriates in that just naturally fits into your hands. But simple on a guitar’s fretboard. If you’ve a hypnotic groove, much like The Doors’ for this composition, create a melody ever wondered why a large swath of “Light My Fire” or Eric Burdon’s “Spill the exclusively by singing it to yourself. Only rock and blues guitarists all sound alike, Wine.” then should you pick up your guitar and it’s because they’re all defaulting to try to adapt your sung melody to specific riffs that feel easy and fluid on a guitar. Much of Carlos’s performance was a frets on the instrument. Your new com- This doesn’t make them bad riffs; it just reflection of San Francisco in the 1960s. position may not necessarily be easy to means that everyone else is playing them, The city’s burgeoning music scene was play on guitar, but it will hopefully break too, so they’ll never sound particularly supportive and unified, which allowed you out of any cycle of writing guitar lines original. Carlos describes this as the local players to transcend the strife of that sound a little too “familiar.” guitar “playing” you. What you want is the Vietnam War and racial unrest that the opposite. was dividing the rest of the country. Very intentionally, Carlos liked his band to “When I discovered ‘Oye Como Va,’ follow up “Evil Ways” with a rendition of people were like ‘but that’s not rock John Coltrane’s “A Love Supreme.” In that ’n’ roll.’ And I was like: ‘well not yet, way, darkness gave way to light at every but it will be.’ ” Santana performance.

MASTERCLASS • 97 CHAPTER 09 THE MUSIC BEYOND THE PAGE CARLOS SANTANA

LEARN FROM THE GREATS

Blending Acoustic • Metallica, Master of Puppets • Fela Kuti, No Agreement (1978): and Electric Playing (1986): Most people don’t think of One way that Carlos stands out acoustic guitars when they hear the from other blues-based guitarists The blend of acoustic and electric name Metallica. The heavy metal is his embrace of world rhythms. playing on “Maria Maria” follows a band’s critically-acclaimed third Among his influences is Afro-beat, long tradition in rock music. To hear album deftly weaves acoustic guitar and Fela Kuti’s No Agreement is a a few other examples of players in key spots, including the opening great primer in the genre. Kuti’s lyrics blending the two, check out: notes of the first song and the verse (typically sung in Nigerian Pidgin, a sections to the forbidding “The variation on English) often focus on • Led Zeppelin, “Over the Hills Thing That Should Not Be.” human rights and empowerment, and Far Away” (1973): The evoking the general positivity that’s acoustic/electric formula is almost Hypnotic Music been a mainstay in Carlos’s own synonymous with Jimmy Page; he music. used the combo to great effect As the Santana band has proven on many Led Zeppelin recordings. throughout its career, a steady groove • James Brown and the Famous “Over the Hills and Far Away” is a can be hypnotic if utilized by the Flames, Live at the Apollo particularly stellar example because right players. Other records that have (1963): Before hippie jam bands it embraces the idiom of each instru- harnessed groove to great effect played half-hour grooves for the ment. The acoustic section features include: masses, James Brown was creating traditional English folk picking and hypnotic R&B music and inventing strumming. Could Page have played • Herbie Hancock, Head Hunters the funk genre in the process. This it on electric? Sure, but he’d have (1973): When jazz piano titan album is a reminder that studio enjoyed none of the resonance Herbie Hancock wanted to push wizardry can never replace the and natural reverb that the acoustic toward jam and groove elements, immediacy of live performance. provides him here. Then when he where did he decamp to? Why San picks up his electric and slams into Francisco of course. This record, Wyclef Jean the chorus with John Paul Jones and which Hancock describes as “lighter” John Bonham, he again embraces than his prior releases, edges away Wyclef Jean was already an interna- idioms specific to a crunchy electric from some of the dense jazz har- tional star by the time he recorded guitar. The choices on this recording monies and rhythms of his earlier with Carlos. Born in Haiti, he moved are precise and perfect. recordings and relaxes into more to New Jersey when he was nine years of a groove structure with Latin old, and founded the Fugees with percussion—no doubt inspired by Lauryn Hill and Pras Michel at the age acts like Santana. of 20. Their second (and final) studio album The Score (1996) has sold over 6 million copies and is well worth a listen.

MASTERCLASS • 98 CHAPTER 09 THE MUSIC BEYOND THE PAGE CARLOS SANTANA Electric Guitar CARLOS SANTANA

09.01 Finger on Two Notes (MasterClass) Chapter Tab 9.1 Appears at 6:48 in video lesson

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MASTERCLASS • 99 CHAPTERElectric 09 Guitar THE MUSIC BEYOND THE PAGE CARLOSCARLOS SANTANA SANTANA 0 .0 Show Me That 9 2 (MasterClass)

Chapter Tab 9.2 Appears at 7:01 in video lesson

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MASTERCLASS • 100 CHAPTERElectric 09 Guitar THE MUSIC BEYOND THE PAGE CARLOSCARLOS SANTANA SANTANA

09.03 Just Dancing Music (MasterClass)

Chapter Tab 9.3 Appears at 7:28 in video lesson

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Electric Guitar CARLOS SANTANA

09.04 Hit the Bullseye (MasterClass)

Chapter Tab 9.4 Appears at 7:50 in video lesson

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10 10 10 10 10 10 10 8 . 8. 10. 8. 10 8 7 5 Í5ÍÍÍÍ 10 ùX ¢⁄

MASTERCLASS • 101

09.05 If You Don't Know What You're Doing (MasterClass) Chapter Tab 9.5 Appears at 8:00 in video lesson

q = 110 rit. q = 70 œ ° œ bœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ 4 Œ Œ 2 Œ 4 J ‰ ‰ ≈ R & 4 1/2 full full 4 full full 4 full full

10 10 10 10 10 10 10 15

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Chapter Tab 9.6 Appears at 8:19 in video lesson

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MASTERCLASS • 102

09.07 Cussing (MasterClass) Chapter Tab 9.7 Appears at 8:36 in video lesson

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8 5 2 8 5 82 5 2 8 5 7 5 5 5 5 7 7 7 7 75 7X 7875XX ¢⁄ (vol. off) 5 . ~ œ œ œ j ° œ ™ j œ~~ œ œ œ œ œ ? œ œ œ bœ œ nœ ~~ œ œ œ ‰ j œ œ™ b œ œ œ ~ ‰ ‰ & œ œ œ œ œ œ ™ J œ J œ œ œ œ 1/2 (vol. off) 5. 1/2 5 8 8 5 8 5 5 5 ~~ 8 8 5 8 5 5 5 7 7 5 ~~ 7 7 7 7 7 ~~ 2 7 77 75 ¢⁄ 55 5 5

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MASTERCLASS • 103 CHAPTERElectric 09 Guitar THE MUSIC BEYOND THE PAGE CARLOSCARLOS SANTANA SANTANA

9.08 Don't Do it Again (MasterClass) Chapter Tab 9.8 Appears at 13:53 in video lesson

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MASTERCLASS • 104 CHAPTERElec 09tric Guitar THE MUSIC BEYOND THE PAGE CARLOS CARLOSSANTA SANTANANA 9A (MasterClass)

Practice Piece 9A

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10 10 11 ÍÍÍÍÍÍ 10 11 12 12 10 12 10 9 11 12 11 ¢⁄

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13 œ œ œ œ ÍÍÍÍÍÍÍÍÍ ™ ÍÍÍÍÍÍÍÍÍ ™ ° œ b˙ œ œ œ œ ˙ œ œ œ ™ & œ œ œ œ ˙ Œ full

13 13 10 1Í1ÍÍÍÍÍÍÍÍ 10 ÍÍÍÍÍÍÍÍÍ 12 10 12 10 9 10 10 10 12 ¢⁄

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13 13 13 13 13 13 13 13 10 10 11 10 1Í0ÍÍÍÍÍÍÍÍÍ 12 12 10 ¢⁄

MASTERCLASS • 105 CHAPTER 09 THE MUSIC BEYOND THE PAGE CARLOS SANTANA

- 9A - 2 Electric Guitar 21 ÍÍÍÍÍÍÍÍÍ ° œj j œ œ œœœ œ œ œ œ< > œ œ & œ œ œ œ œ œ #œ œ œ ‰ J J n œ w ‰ œœœ œ œ œ 3 3 3 J ÍÍÍÍÍÍÍÍÍ 12 10 9 10 9 9 10 10 12 9 12 10 10 9 10 12 11 12 10 12 10 12 12 14 12 10 ¢⁄ 10 12 26 ÍÍÍÍÍÍÍ ™ œ œ œ œ œ œ œ ° œ œ œ œ œ œ œ œ œ œbœ œ ˙ œ ‰ œ ‰ J ‰ œ Œ J ‰ & J J full full

ÍÍÍÍÍÍÍ 10 10 10 11 10 13 13 10 13 13 9 10 10 9 10 12 12 ¢⁄ 30 ™ ÍÍÍÍÍÍ ™ ÍÍÍÍÍÍÍÍÍ ° œ œ œ œbœ œ œ™ œ œ œ ™ œ œ™ œ bw œ™ œ œ™ ‰ œ #œ œ ˙ Œ J œ & 1/2 J

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9A TRANSCRIPTION & MUSIC PREPARATION MASTERCLASS • 106 BY STEVE AHO CHAPTERElec t09ric Guitar THE MUSIC BEYOND THE PAGE CARLOS SCARLOSANTA NSANTANAA 9B (MasterClass)

Practice Piece 9B

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11 ™ ° œj ™ œ œ œ œ ™ #œ œ œ œ œ ™ j œ œ œ ˙ R œ œ œ œ œ & J œ w œ œ œ ‰ ≈ J 5 5 5 5 7 5 5 5 8 8 5 7 5 5 7 5 7 7 7 7 ¢⁄

16 ° w j œ j j œ. œ. j bœ œ œ & œ œ ‰ œ œ. œ ‰ œ ‰ œ œ œ ‰ œ œ ∑ . . . 5 5 7 8 7 5 7 7 5 7 7 7 5 7 7 5 7 ¢⁄

MASTERCLASS • 107 CHAPTER 09 THE MUSIC BEYOND THE PAGE CARLOS SANTANA

- 9B - 2 Electric Guitar

21 ° j . œ j bœ. œ. . œ j j œ & œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ ∑ œ™ œ œ œ œ . . . . 8 5 7 8 7 5 7 5 5 5 5 7 7 5 5 5 7 7 7 7 7 7 ¢⁄

26 ° #œ œ œ œ j bœ. œ & ‰ J ‰ J œ ‰ œ œ œ œ œ ∑ œ œ Œ ‰ J . 7 5 7 5 5 5 8 7 7 7 7 5 7 7 ¢⁄

30 ° . ÍÍÍÍÍÍÍÍÍÍ œ bœ œ. œ. œ j j & ‰ J Œ œ œ œ ‰ œ ˙ œ~~~~ ‰ Œ . . . ÍÍÍÍÍÍÍÍÍÍ 5 8 7 5 5 7 5 7 7 ¢⁄

9B TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO

MASTERCLASS • 108 CARLOS SANTANA

CHAPTER 10 LEADING AND PLAYING IN A BAND

MASTERCLASS CARLOS SANTANA

CHAPTER 10 LEADING AND PLAYING IN A BAND

“To respect [the song] is to take the time to honor the tempo, the groove, and the feel.”

the members of santana connect By filling the Santana band with players performances and encouraging them to over groove, tempo, and feel. Melody he intrinsically trusts, Carlos engenders strive to be even better. Carlos observes isn’t even needed to create this bond; it natural collaboration. As each player that people can grow into the descrip- only comes after that collective groove embraces the others’ choices, a unified tions and expectations that you set for is established. Carlos likes to use sound- band “sound” emerges and players them. If you treat them as talented and checks to establish this collective group achieve new levels of connection through valuable, chances are they will shine presence. Both the players on the stage listening and anticipation. The band through as talented and valuable. and the sound engineers in the wings must play precisely and know where partake in this syncing process, so that one another will be at all times during a “All humans need air and water and the actual show later that evening is as performance. Carlos expects that sort romance. We need to be validated and optimal as possible. of present listening from his band: they celebrated.” need to be engaged, connecting with “Listening is probably the greatest others, and always bringing maximum In the early days of Santana, the group gift you can give anyone—across the energy to the group effort. focused on long-form jams idiomatic to room, across the table, or on stage.” the San Francisco music scene of the “I’m 71 years old. I need to be around 1960s. But under the mentorship of Bill One of the great management strategies energy. I don’t want to be around Graham, Carlos came to appreciate the is to not micromanage: Employ the something that’s less than supreme value of distinct song structures, and his best people and trust them to make the with energy.” career exploded as a result. The reality is right decisions. As a bandleader, Carlos that in the world of rock and blues, long adheres to this principle by surrounding Carlos makes a point to call out play- extended jams can sometimes be more himself with players whose instincts ers for their work, letting them know fun for the players onstage than for the naturally resonate with him. that he hears the excellence in their fans in the audience, depending on the

MASTERCLASS • 110 CHAPTER 10 LEADING AND PLAYING IN A BAND CARLOS SANTANA

LEARN FROM THE GREATS situation. Many fans have probably come to the show to hear recognizable songs. It Leadership • Rise and Grind: Outperform, is good to find a balance! Outwork, and Outhustle Your Leading a band is a bit like leading Way to a More Successful and “Play a song… because that’s what a small company. Your players are, Rewarding Life by Daymond John people are gonna remember when in a sense, your employees, and (Penguin Random House, 2018) they go home.” you need to both treat them with respect and challenge them to con- • The Fifth Agreement: A Practical tinue their growth. Although some Guide to Self-Mastery by Don moments call for a stern taskmaster, Miguel Ruiz (Amber-Allen most successful leaders motivate Publishing, 2011) with positivity. With this much established, it’s not such a bad • End Your Story, Begin Your Life: idea to research overall strategies Wake Up, Let Go, Live Free by for self-improvement and effective Jim Dreaver (Hampton Roads leadership. These books, although Publishing, 2012) not written with musicians in mind, can help anyone in a position of leadership.

MASTERCLASS • 111 CARLOS SANTANA CHAPTERElectric 10 Guitar LEADING AND PLAYING IN A BAND CARLOS SANTANA

10.01 Responding to Singer (MasterClass)

Ta b 1 0 . 1 Appears at 4:56 in video lesson

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MASTERCLASS • 112 CARLOS SANTANA

CHAPTER 11 PLAYING LIVE: CONNECTING WITH THE LISTENER

MASTERCLASS CARLOS SANTANA

CHAPTER 11 PLAYING LIVE: CONNECTING WITH THE LISTENEER

“In any kind of music that you make, there’s tension and release, tension and release.”

a performer is only 50% of a perfor- and body. Carlos describes the image of The next time you find yourself in any sort mance. The other 50% is the audience. a string attached to both your eyes and of performance context, be intentional You can be the most technically gifted your heart. Any “tug” on the string will about connecting with your audience. musician in town, you can play at the be felt by both the eyes and the heart. Look for signs of engagement in their speed of light, you can make harmonic Syncing those two—eyes and heart—is faces and their physicalities. Make sure choices that would make John Coltrane the first step toward reaching out beyond that you’re telling that joke or playing that gasp… but if there’s no connection to an yourself and making that connection with solo for them as much as you’re telling or audience, you’ve accomplished nothing. the listener. playing it for you. Whenever you’re in a performance context—whether that’s onstage at Exercise Woodstock or around a campfire with friends—it’s your obligation to reach If you ever perform in front of an audi- beyond yourself and make that connec- ence, you can practice the craft of con- tion with the listener. necting. Most of us aren’t guitar legends who play to packed theaters and arenas. “You have to play live like you’re But perhaps we play small clubs or open sitting on a high stool and you mean mics. Perhaps we sometimes give a pep business, like Rambo with a flame- talk to teammates or co-workers. Perhaps thrower, like you’re gonna do some we just tell funny stories over dinner. The serious creative, positive damage.” truth is that most of us perform for some sort of audience in our daily lives, even Before you connect with a listener, you if that audience is just family and close have to connect with your own mind friends.

MASTERCLASS • 114 CHAPTER 11 PLAYING LIVE: CONNECTING WITH THE LISTENER CARLOS SANTANA

LEARN FROM THE GREATS

Audience Connection on account of all the effort he’s put Bob Marley and the Wailers, into connecting with his listener over Live! (1975): This live reggae classic Once a performer is known for a decades-long career. was recorded late in Marley’s Natty connecting with their audience, an Dread tour, and it’s clear that his aura of respect surrounds them. Here are some other standout audience is well familiar with the Suddenly you’re able to take the examples: material. Lead guitarist Al Anderson stage and command massive respect offers a primer in layering the blues without having played a single note. Keith Jarrett, The Köln Concert on top of a reggae groove. Audience expectation, based on prior (1975): This live concert recording performances, imbues you with trust in the Köln (Cologne) Opera House Phish, Hampton Comes Alive and respect and your music will be is the top selling solo jazz album in (1999): In many ways, Phish are gratefully received throughout the history. Without saying a word, Jarrett heirs to Santana. Their jam-based event. As a child in Mexico, Carlos enraptures his audience with his fluid, music incorporates many styles and observed his own father command melodic, but never predictable piano embraces all forms of dynamics and this sort of respect among his music playing. What makes this even more band interplay. They trade some of audiences. Today, Carlos can take the remarkable is that the entire concert Carlos’s Spanish and Afro-Caribbean stage with the benefit of that audi- was improvised. influences for more straight funk, but ence respect. Before he even turns the result is equally complex and on his amplifier, he’s in an enviable captivating. This six-disc box set cap- position. And he enjoys this respect tures two magical nights in Hampton Roads, Virginia.

MASTERCLASS • 115 CHAPTERElectric 11 Guitar PLAYING LIVE: CONNECTING WITH THE LISTENER CARLOSCARLOS SANTANA SANTANA .01 When You Hit That Note 11 (MasterClass)

Chapter Tab 11.1 Appears at 0:59 in video lesson q. = 55 > œ ° >œ œ œ œ œ œ 12 Œ™ ‰ ‰ œ ‰ J ‰ ‰ Œ™ Œ™ Œ™ & 8 j J 1 1/2 œ >5 10 8 10 8 10> 5 10 5

¢⁄ 0

Electric Guitar CARLOS SANTANA

11.02 It's Really Effective (MasterClass) Chapter Tab 11.2 Appears at 1:10 in video lesson

q. = 52 > œ ° >œ œ œ œ œ œ 12 Œ™ Œ™ œ ‰ J ‰ ‰ Œ™ Œ™ Œ™ & 8 J full >5 8 10 8 10> 5 10 5 ¢⁄

MASTERCLASS • 116

11.03 Chicago (MasterClass)

Chapter Tab 11.3 Appears at 1:39 in video lesson

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Electric Guitar CARLOS SANTANA .04 Chord 1 11 (MasterClass)

Chapter Tab 11.4 Appears at 4:10 in video lesson

(Speaking)

∏

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MASTERCLASS • 117

09.04 Chord 1 Copyright © 2018 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTERElectric 11 Guitar PLAYING LIVE: CONNECTING WITH THE LISTENER CARLOSCARLOS SANTANA SANTANA .05 Chord 2 11 (MasterClass)

Chapter Tab 11.5 Appears at 4:16 in video lesson

q = 124

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Electric Guitar CARLOS SANTANA .06 Chord 3 11 (MasterClass)

Chapter Tab 11.6 Appears at 4:29 in video lesson

q = 142

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MASTERCLASS • 118

CHAPTER 12 GUITARS, AMPS, AND SUSTAIN

MASTERCLASS CARLOS SANTANA

CHAPTER 12 GUITARS, AMPS, AND SUSTAIN

“You have to work on you first. You are the main instrument.”

when it comes to equipment, Carlos was first known for playing Gibson allocate band funds toward getting him there’s no doubt that a great guitar or guitars, such as the SG he used at a new instrument. These days, Carlos amplifier or stompbox pedal can make Woodstock, but he started with Fender plays custom-built models by Maryland your performance shine—but only if you Stratocasters. Ultimately he found it luthier Paul Reed Smith—some of which have already developed your technique. difficult to get massive sustain from a use humbuckers (like the teal guitar in the In an old interview, Carlos once revealed single-coil guitar (like a Stratocaster) at MasterClass videos), and some of which that an amplifier builder gave it to him low volumes. (Although the Strat produc- use single-coil pickups. bluntly: “Your sound is your sound with es incredible sustain at high volumes—just my amplifier or without my amplifier.” ask Jimi Hendrix.) “All of these amplifiers create a sound wave to reach a destination. Well, So before obsessing over the minute dif- The majority of Gibson electric guitars what’s the destination? The heart, of ferences between pieces of equipment, use double coil pickups, also known as course, the heart of a listener. That’s look inside yourself and make sure your humbuckers. These traditionally produce the only destination worth arriving playing is, in the words of Carlos: a bigger, “beefier” sound that sustains at.” longer at lower volumes. In some cases, • Genuine players may use humbucking guitars on- Carlos’s first amp was made by the British • Honest stage in certain venues, even while they’re company Vox, but he quickly gravitated • Sincere using single-coil guitars (like most models toward the amp of choice for top blues • True offered by Fender) in studio settings. players like Mike Bloomfield, B.B. King, • For real and Peter Green: the Fender Twin • Authentic What happened to Carlos’s Woodstock Reverb. The Fender Twin is an extremely guitar? Its neck was horribly warped, so powerful amp, based on 6L6 model “I didn’t know how to strangle a he smashed it against a wall to prove to power tubes. It is known for projecting Stratocaster.” his skeptical bandmates that they should clean tones at high volumes, when most

MASTERCLASS • 120 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA

amps would naturally start distorting. noise), but if you place yourself just right, be wired “hotter” than a neck pickup. (The player can add distortion at any you can achieve a harmonically rich tone Once you’ve found that sweet spot, see volume by using stompbox pedals.) that seems to last forever. how much sustain you can squeeze from a single note. Carlos was instrumental in helping an For many years, Carlos did not play with engineer named Randall Smith develop a wah-wah pedal, but he was eventually Exercise: Gear Experimentation the Mesa/Boogie line of amplifiers—it’s cajoled into using one by, of all people, even said that the Boogie name comes Miles Davis. Davis caused a bit of a scan- The best way to hear the difference from Carlos exclaiming to Smith: “This dal in jazz circles when he began playing between guitars and amplifiers is to play thing really boogies!” (For the full story, his trumpet through a wah-wah. with them. Visit a location with both see Chapter 6: Learning From the Blues.) single-coil and double-coil guitars, and On a technical level, a wah-wah pedal is a with an array of amplifiers. (Likely a guitar The Mesa/Boogie is modeled on Fender tone sweep effect that can be controlled store.) Try playing the same exact guitar amplifiers using the 6L6 power tube, and with your foot. Pressing the wah-wah all passages on single-coil instruments thus the company’s amplifiers are known the way down filters out low frequencies (made by many brands but commonly for their power. But Randall Smith inten- and only allows higher frequencies to be associated with Fender) and humbucker tionally added an additional “gain stage” heard. Rocking the wah-wah all the way instruments (made by many brands but to the amp, which allows for more natural back creates the opposite effect: only commonly associated with Gibson), and distortion, should the player desire it. So low frequencies come through to the see which you prefer. Mesa/Boogie is oddly enough known for listener. Nearly all guitars have the same both very powerful, clean tones but also effect built in—it’s called the tone knob. Likewise, many players may gravitate for producing more distortion than many But it’s impossible to manipulate the tone toward amps with an “American” style other amps, provided that the additional knob and simultaneously pick the strings tone (Fender and Mesa/Boogie are the “gain stage” is engaged. Today, Carlos (unless you’re blessed with three hands), two best known brands), and others uses Dumble amplifiers as well as Mesa/ and so the wah-wah remains popular to will prefer a “British” style tone (Vox and Boogie amps. this day. Orange are popular brands). An interest- ing middle ground is Marshall, which is “When you put a crystal in the right Exercise: Sustain a British company but whose amplifiers place in the sun, you get all the colors. were initially modeled on the Bassman It’s like that when you sustain.” Use Carlos’s secret to find your own series by Fender—so there’s a little bit of natural sustain spot with your guitar both Britain and America in that brand’s Carlos’s secret for his legendary sus- amplifier. Turn up your amp as high as story. tained notes—which he’s able to summon you can without getting in trouble with without the use of a special pedal—is to the neighbors, and experiment with floor Try combining single-coil guitars with stand in a location that allows maximum positioning. Where can you achieve the both British and American-style amps, reaction between the amplifier and the maximum sustain without veering into and then do the same with double-coil guitar. It means you’ll be on the verge of uncontrolled feedback? As Carlos notes, guitars. Is there a combination that feeding back (ie. creating an ultra high this can often be more easily facilitated particularly suits your aural taste? pitched whine that can devolve into with your bridge pickup, which tends to

The Wah-Wah and Other Pedals

MASTERCLASS • 121 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA

LEARN FROM THE GREATS

In the studio and in a live setting, Carlos uses the Eventide H9 stompbox for a variety of special tones. You can see the pedal on his pedalboard. For those who like to really experiment with the tones one can coax from an electric guitar, the H9 will provide a wide array of possibilities all housed in a compact pedal. For those who like a simpler, grittier tone, bypass effects pedals and play directly into your amp. It’s truly a matter of personal preference.

Become more versed in wah-wah pedal sounds with these two albums from legendary players:

Jimi Hendrix, Electric Ladyland (1968): A benchmark for wah- wah playing is Jimi Hendrix. Carlos gravitated toward the filtered riff from “Voodoo Child” almost as soon as he got his hands on a wah-wah pedal. Listen to Electric Ladyland (1968) for a clinic in rock ’n’ roll wah-wah guitar.

Miles Davis, Agharta (1975): To hear Miles Davis’s pedal experiments in action, check out this live record, which features guitarist Pete Cosey and the fantastic woodwinds player Sonny Fortune. (And if you like Fortune on this record, you’ll love him as a sideman for pianist McCoy Tyner—another Miles Davis alum.)

MASTERCLASS • 122 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA Electric Guitar CARLOS SANTANA

12.01 Amp Demo (MasterClass) Chapter Tab 12.1 Appears at 5:45 in video lesson

q = 80 - Free Tempo accel. ™ ™ . œ œ œ œ ˙ œ œ œ œ œ œ ° œœ œœ œ#œnœ#œ œ œ ˙ wÍÍÍÍÍÍ 4ùœ Œ ùœ œœœ Œ & 4 3 full 3 1/2 1/2 full 15. 15 15 12 10 8 12 8 13 13 15 ÍÍÍÍÍÍ 12 14 12 14 14 14 14 14 14 ¢⁄ ù ù ÍÍÍÍÍ q = 130 ™ œ 6 œ œ œ œ œ . œ œ w ˙ œ œbœ œ œ#œ Í . œ œ œ œ œ œ~ œ œ ° œ J ~ bœ œ & œ ‰ Œ Œ œ 3 full full 1/2 J full full full 5. . 13 15 ÍÍÍÍÍ13 13 11 13 13 Í 5 15 15 13 15 15 13 10 10~ 13 13 5 ~ 12 12 7 13 ¢⁄ 7

11 ™ œ~~~~~ œ œ œbœ œ œ œ œ œ œ œ bœ ° œ bœ œ œ ˙~~~~~~~~~~ Œ ‰ ‰ & 3 full

13 13 13 11 15 11 13 13 11 ~~~ 11 15 15 13 13 ~~ 12 ¢⁄ ™ 14 bœ œ œ œ œ œ bœ œ œ œ œ œ œ™ œ œbœ ° œ œ bœ J ‰ bœ œ œ œ œ j ‰ Œ & 3 œ œ full 3 full 11 13 11 13 11 10 11 11 11 11 13 11 13 15 16 10 8 7 7 12 10 9 ¢⁄ 10

MASTERCLASS • 123 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA

- 07.01 Amp Demo - 2 Electric Guitar 17 w w w w w œ~~~~~ ° ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & Œ Ó ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢⁄

MASTERCLASS • 124

07.01 Amp Demo TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CARLOS SANTANA CHAPTERElectric 12 Guitar GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA .0 Solo 1 12(MasterClass)2

Chapter Tab 12.2 Appears at 9:27 in video lesson

q = 65 / Free Tempo ™ œ œb . œb œ œ œ ˙ œ œ œ œ# œn œb œ œ œ# œn œ œ ° œ œ œ œ 4 œb ~~~~~~≈ ‰ R & 4 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 3

full full 1 1/2 1/2

8. 11 13 13 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 15 15 15 14 13 11 13 13 13 11 8 13 13 13 8~~~~~~ ¢⁄ 3 œb œ œ wb ° œb œ œ œ ùœ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ‰ J 11 8 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 11 8 8 11 8 ù 8 8 11 11 ¢⁄ j ™ j 5 ¯¯¯¯¯¯¯¯¯¯¯ œb ™ œ ˙ œ œ w ° ˙ œb œ œ ‰ & full full 1 1/2

13 13 ¯¯¯¯¯¯¯¯¯¯¯11 11 13 13 ¢⁄ 8 œ œ œ œ œ œ# œn œ œ œ œ œb œ œ# œn œb ° œ ‰ J ŒÓ & full full 1/2 full 3

13 13 13 13 13 11 13 14 13 11 13 ¢⁄

MASTERCLASS • 125 CARLOS SANTANA CHAPTERElectric 12 Guitar GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA .0 Solo 2 12(MasterClass)3

Chapter Tab 12.3 Appears at 10:03 in video lesson

q = 80 / Free Tempo . ˙b œ œ œ œb œ œ œ œ ° œ œb œ œ œ œ œ œb œ 4 Œ ‰Œ ≈ ‰ ≈ R Œ & 4 j full full 1 1/2 œ . 13 11 8 88 11 13 13 8 11 13 8 11 13

¢⁄ 0 ÍÍÍ 4 œ œ œ œ œ œ œb œ œ œ œb œ ° æ æ æ æ œ œ œ œ œb œ œ œ œ œ æ æ æ æ J ‰ ù & 6 æ 1 1/2 æ 15æ 13 11 13 15 13 11 11 6 æ 8 15 13 13 13 13 11 8 ù8 ÍÍÍ ¢⁄ 6 ÍÍÍÍÍ œb œ œ œ ° œ œ œb œ œ œ œb œ œ œ œ œ œ œb œ œ ‰ & R œ œ 3 3 œ œb J 11 10 10 ÍÍÍÍÍ 686 6 6 11 8 8 85 85 8 10 ¢⁄ 86810 8 ÍÍÍÍÍÍÍ œb œ œ œ œ œ œ œ œb œ ° œ œ œb œ œ œ œ œb œ ‰ J R 2 R J ‰ 4 & 3 4 3 4

ÍÍÍÍÍÍÍ8 11 10 10 8 13 10 11 10 8 13 10 11 10 8 11 8 11 11 ¢⁄

MASTERCLASS • 126 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA

- 03.04 Solo 2 - 2 Electric Guitar q 10 = 118 ° bœ œ œ œ 4 œ œ œ œ œ œb œ œ œ œ œ œ < > & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ bœ 8 8 10 8 8 10 10 10 10 10 10 10 10 8 8 10 10 10 10 10 10 10 10 10 10 10 7 6 ¢⁄ 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 Slower q = 70 j 13 bœ œ œ œ œ œ ° œ bœ œ œ bœ œ œ œ bbœ œ ‰ J ‰ & 3 3 1/2

11 10 10 8 13 13 10 11 8 11 13 10 8 8 8 8 ¢⁄ 15 ™ ° œ bœ œ œ œ œ œ œ œ ˙™~~~~~ J œ œ ~~~~~~~~~~~~~~~~~ Œ & 3 R 3 1/2

10 10 8 10 8 6 8 6 8 ¢⁄

MASTERCLASS • 127

03.04 Solo 2 TRANSCRIPTION & MUSIC PREPARATION BY STEVE AHO CHAPTERElectric 12 Guitar GUITARS, AMPS, AND SUSTAIN CARLOSCARLOS SANTANA SANTANA .04 Wah Wah 1 12 (MasterClass)

Chapter Tab 12.4 Appears at 11:17 in video lesson

q = 116 Wah pedal on quarter notes œ ° 4 œ œ #œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4ù Œ ùœ ùœ J ‰ œ œ ‰ù œ 1/2 3 3 3 3 full 3 J 3 Wah pedal on quarter notes 8 8 8 8 9 9 9 9 9 7 9 9 9 9 9 9 9 7 9 7 ù 9 9 9 7 ù 9 ¢⁄ ù ù

5 3 3 ÍÍÍÍÍ œ œ™ ° œ œ œ œ œ œ œ œ 3 œ #œ 4 bœ ~nœ œ œ J ‰ œ œ ~ ~ 4 & œ ~~ J 3 4 full œ œ œ~ 3 1/2

ÍÍÍÍÍ 8 10 9 9 7 9 9 9 9 9 8 7 7 0 0 9 9 0 9 10 ~ ~~ ¢⁄ ~~ ~~ Slower q = 60 Faster q = 92 3 3 3 3

8 ‰ œ œœ œ œ œ œ œbœ œ œ œ œ œ œ U ° 4 œ #œ & 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ 3 3 3 3 > hold bend ¿ hold bend ¿ full 1/2 1/2 10 10 10 10 10 10 10 10 10 10 10 > 10 10 10 8 X X X X X X X X X ¢⁄ hold bend ¿ hold bend ¿

10 ° ÍÍÍ ÍÍÍ ÍÍÍÍÍÍ ~œ™ œ j œ œ™ œ œ œ & ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿~~~~ œ œ œ œ œ œ œ J > œ™ > ÍÍÍ œ ÍÍÍ œ™ 9 7 7 9 7 9 X X X X X X X X X X X X 7 9 5 5 7 5 9 ~~~~ 2 ¢⁄ ~ 0 0

MASTERCLASS • 128 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA Electric Guitar CARLOS SANTANA .05 Wah Wah 2 12 (MasterClass) Chapter Tab 12.5 Appears at 11:51 in video lesson

q = 90 With Wah pedal (Sounding - strum steady 16ths) ° œ œ 4 ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿~~ ~œ œ & 4 ~ œ~~ œ

(Sounding - strum steady 16ths) With Wah pedal X X X X X X X X X X X X X X X X X X X X~~ 4 7 9 0 ~ 0 9 ¢⁄ ~ 3 ÍÍÍÍ ° œ #œ w œ ‰ w & j j < > œ œ œ#œ œ n œ œ œ œ œ œ œ œ œ œ~~~ 1/2 1/2 5 ÍÍÍÍ 8 5 9 5

2 3 3 ¢⁄ 0 3 5 5 5 5 3 0 3 5 5~~~~

MASTERCLASS • 129 CHAPTER 12 GUITARS, AMPS, AND SUSTAIN CARLOS SANTANA

Electric Guitar CARLOS SANTANA Chapter Tab 12.6 Appears at 12:38 in video lesson .06 Wah Wah 3 12 (MasterClass)

q = 71 With Wah pedal ¯¯¯¯¯¯¯¯¯ œ U˙ œ œ œ œ œ< > bœ ° œ #œ ~~~~~ n œ œ œ #œ œ œ 4 J ‰ J & 4 full 1/2 1/2 U 15 15 12 15 16 17 17 15 15 13 14 14 ¢⁄

3 ° w¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & Ó ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢⁄

MASTERCLASS • 130

Practice Piece 12A

q = 55 - Free Tempo bœ ÍÍÍÍÍÍÍ bœ œ™ ÍÍÍÍÍ bœ ° bœ œ œ œ bœ œ~~~ bœ œ œ b˙ œ œ 4 œ œ œ J 2 œ ~~4~~~ œ œ œ J & 4 ‰ 4 4 ‰ ‰

11 10 8 11 10 13 10 11 10 8 8 11 11 8 1Í1ÍÍÍÍÍÍ 8 8 11 1Í1ÍÍÍÍ 11 10 10 ¢⁄

ÍÍÍÍÍÍÍ 5 bœ œ œ j bœ ° œ bœ b œ œ œ œ bœ ˙ bœ œ œ J œ œbœ œ œ œ J J J 2 4 œ œ œ J œ 2 & ‰ 4 4 ‰ 4

8 11 10 11 13 10 ÍÍÍÍÍÍÍ 11 10 8 8 11 8 11 10 11 11 13 8 8 11 11 8 10 8 10 10 ¢⁄

j 9 œ œ ÍÍÍÍÍÍÍÍ œ ™ ° bœ œ œ bœbœ œ œ b˙™ bœ œ œ œ œbœ œ 2 4 œ œ œ J œ œ œ & 4 4 ‰ ‰

8 11 11 13 11 10 13 11 10 11 10 8 11 8 8 11 1Í1ÍÍÍÍÍÍÍ 11 11 8 8 10 10 ¢⁄

much slower 13 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ bœ™ ° œ œ bœ œ jU™ & J œ œ bœ bœ ˙ œ~~~~~~~ ‰ 3 3 J U 11 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 10 10 8 7 8 7 8 8 10 ¢⁄

MASTERCLASS • 131 CARLOS SANTANA

CHAPTER 13 CONTINUING YOUR TRANSFORMATION

MASTERCLASS CARLOS SANTANA

CHAPTER 13 CONTINUING YOUR TRANSFORMATION

“Life, to me, is not a downer. It’s—it’s an upper.”

you might think a musician as “Don’t be a part-time anything. Be a musician. There were brief points when rooted in the blues as Carlos Santana full-time everything.” he was homeless. But he could see his might sometimes embrace the melan- destiny in front of him and he couldn’t choly of that genre’s lyrics and (some- The turning point in Carlos’s own life afford to delay it any longer. Flash times) its melodies. Not so. “I’m 71,” says was the day he made music a 24/7 forward to the present, and the risk he Carlos. “I’m blessed by what happened. commitment. Prior to this moment, he’d took has paid off in more ways than one And I only remember the beauty and the been spending much of his waking hours can count. elegance of it.” working for hourly wages in the restaurant industry. Music was something he only “I made a conscious decision to This mentality isn’t a guidepost for did in his free time. But upon observing become who I am.” musicians alone. People from all walks The Grateful Dead pull up to his fast of life are forced to reconcile early life food restaurant in a fleet of limousines, A core tenet of Carlos’s approach to dreams and aspirations with the roles Carlos knew he was on the wrong end of music is belief in oneself. It’s looking in they eventually slot into in their real- that relationship dynamic. And he knew the mirror and saying, “I am a master- world existence. There are two ways to the only way he’d get to the other side piece.” It’s standing on stage in a posture deal with this. The first is to embrace the was to quit the restaurant and devote that lets you command your instrument. role you play in the world—celebrate it, himself full time to music. It’s conscious breathing and spiritual honor it. And the second way is to plunge alignment that makes you one with the headfirst into the role that you deeply It wasn’t an easy path. A teenager at the music. It’s practicing scales and chords desire for yourself. time, Carlos had to run away from home, until they’re second nature and then since his parents could not yet accept turning off your mind and surrendering that he really had a path forward as a to your instinct.

MASTERCLASS • 133 CHAPTER 13 CONTINUING YOUR TRANSFORMATION CARLOS SANTANA

Confidence, trust in oneself, and total May your own relationship to music commitment are what made a young continue to grow and evolve. May you immigrant from central Mexico into in- challenge yourself to explore styles and ternational guitar legend Carlos Santana. techniques that don’t necessarily come And no matter where you are in your own easily. May you expand your listening musical journey—whether that’s 100% palette and discover new ideas. And committed, just playing as a hobby, or a may you work toward developing a non-player who’s interested in tapping relationship with music that is uniquely into the mind of a musical icon—there’s our own—one that can be inspired by the something to be gleaned from Carlos’s greats, but one that starts and ends with life experience and philosophies. you.

MASTERCLASS • 134 CHAPTER 13 CONTINUING YOUR TRANSFORMATION CARLOS SANTANA Electric Guitar CARLOS SANTANA

13.01 Concluding Solo (MasterClass) Chapter Tab 13.1 Appears at 9:27 in video lesson

q = 90 - Freely ÍÍÍÍÍ bœ œ œ œ œbœ œ ™ œbœ œ œ œ œ œbœ œ œÍÍ™Íœ œ œ ° œ œbœ œ œ œ œ 4 J ≈ J ≈ bœ Œ Œ 3 & 4 3 œ œ 4 full œ œ

13 13 11 8 8 8 11 8 8 13 11 13 15 18 15 18 15 15 11 8 18 16 16ÍÍÍ16 16 18 ÍÍÍÍÍ 8 17 10 10 10 ¢⁄ 8 8

4 ÍÍÍÍ bœ ™ ÍÍÍÍÍ œ ° œ bœ œ œ ~~~ œ Uœ bœ œ bœ bœ œ œ œ œ œ œ œ 3 ‰ œ 2 ‰ 4 J ‰ & 4 4 4 3

U 8 10 8 8 16 Í8ÍÍÍÍ 9 8 9 11 9 11 11 ÍÍÍÍ 17 15 17 17~~~~ 12 10 ¢⁄

7 œ œ œ œ œ ° bœ œ œ œ œ œ œ œ œ bœ œ ‰ J & full full full 3

11 11 11 11 11 8 8 11 8 11 8 8 11 ¢⁄

8 ÍÍÍÍÍÍÍ ° bœ œ œ œ œ U bœ œ œ œ œ j & bœ œ œ œ œ œ #œ nœ™ œ ™ bœ bœ œ œ œbœ œ œ œ ~~~~~~ U 11 8 11 8 8 ÍÍÍÍÍÍÍ 8 8 10 10 8 10 8 10 10 8 6 8 9 8 6 8 6 6 ⁄ 8 8 6 8 8 ¢ ~~~~~~~~

MASTERCLASS • 135 CHAPTER 13 CONTINUING YOUR TRANSFORMATION CARLOS SANTANA Electric Guitar CARLOS SANTANA 13A (MasterClass)

Practice Piece 13A

q = 90 molto rit. ÍÍÍÍÍÍ ° ÍÍÍÍÍÍ 3 3 U Uæ U 4 œ j æ & 4ù œ œ œ œ œ œ œ œ œ œ œ 3 œ œ. ÍÍÍÍÍÍ U UÍÍÍÍÍÍ . 7 5 5 7 7 5 5 7 5 3 5 5 ù 8 ¢⁄

q = 110 3 ° ÍÍÍÍ & œ ≈ ‰ j œ ≈ ‰ j ≈ ‰ j œ œ ≈ ‰ j œ ≈ ‰ j . œ œ. . œ œ. œ. œ œ. œ œ. . . œ œ. . œ œ...... ÍÍÍÍ ......

3 3 3 3 3 3 5 3 5 5 3 5 5 3 5 3 5 ¢⁄ 5

6 ° ÍÍÍÍ ÍÍÍÍ ≈ ‰ j ≈ ‰ j ≈ ‰ j ≈ ‰ j & œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ. œ . . . . œ . . œ. . . ÍÍÍÍ ...... ÍÍÍÍ . .

3 3 3 5 5 5 3 5 3 5 5 3 5 5 ¢⁄ 5 5 5 5

9 ° 3 ÍÍÍÍÍÍÍÍÍÍÍ & Œ j ‰ j ‰ ≈ ‰ j ≈ ‰ j j ‰ Œ Ó œ œ œ œ œ œ ˙ œ~~~ . œ œ...... ÍÍÍÍÍÍÍÍÍÍÍ

3 5 3 3 5 3 5 ¢⁄ 5 3

MASTERCLASS • 136