Donna Lee guitar fingering

[Joe Finn]

This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad." I found it helpful in
teaching this tune to use a fingering guide which is now available free on
my website:


http://www.joefinn.net/html/donna_lee.html


Enjoy! ...........joe

[7/4]

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad." I found it helpful in
teaching this tune to use a fingering guide which is now available free on

I always thought playing the head was the easy part...




dB

[Joe Finn]

Post by 7/4
I always thought playing the head was the easy part...

I think you are correct about that. ........joe

[pmfan57]

Post by 7/4
I always thought playing the head was the easy part...

I think you are correct about that.        ........joe
--
Visit me on the web  www.JoeFinn.net

But even though it's not that *hard* to play the head, it still
doesn't seem to lay all that well on the guitar.

[Joe Finn]

Post by pmfan57
But even though it's not that *hard* to play the head, it still
doesn't seem to lay all that well on the guitar.

No, it sure doesn't. I think the reason guitar players like to play various
Parker melodies is precisely that. The fingerings force the player out of
the more comfortable little boxes that they become accustomed to, and it
makes them play the whole guitar. It's a good way to develop a more
integrated sense of the instrument. ....joe

[pmfan57]

Post by Joe Finn

Post by pmfan57
But even though it's not that *hard* to play the head, it still
doesn't seem to lay all that well on the guitar.

No, it sure doesn't. I think the reason guitar players like to play various
Parker melodies is precisely that. The fingerings force the player out of
the more comfortable little boxes that they become accustomed to, and it
makes them play the whole guitar. It's a good way to develop a more
integrated sense of the instrument.   ....joe
--
Visit me on the web  www.JoeFinn.net

I agree. I love watching Five Sharp's vid of those Parker heads and
solos for that reason.

[Gerry]

\No, it sure doesn't. I think the reason guitar players like to play various
Parker melodies is precisely that. The fingerings force the player out of
the more comfortable little boxes that they become accustomed to, and it
makes them play the whole guitar.

Additionally, Parker's heads and solos have other stuff going for them...

It's a good way to develop a more integrated sense of the instrument. ....joe

Did you see the Barry Galbraith Fingering that I posted a year or two ago?

[Joe Finn]

Post by Gerry
Did you see the Barry Galbraith Fingering that I posted a year or two ago?

No, I missed that one. I'd like to see it though. ......joe

[Gerry]

Post by Joe Finn

Post by Gerry
Did you see the Barry Galbraith Fingering that I posted a year or two ago?

No, I missed that one. I'd like to see it though. ......joe

That post, from around August '06 as best I can figure, has a dead link
anyway. Here it is, and the scans will be there for a few weeks.

----------

Barry Galbraith's Fingering on Donna Lee

After having hassled a friend for years over having lost this chart,
among others, I found it inside a music folio I haven't opened in 10
years! That still doesn't account for the others he lost though.

It's quite ugly, since it's a 30 year-old mimeograph. I scanned the
original, then half-assed cleaned the top two staffs, then the
remaining page. I started hand-editing it back into legibility and then
thought, who cares? If you can't figure out what it says somewhere let
me know: I probably remember.

The original scan, and the partial clean will be available for a couple
of days here in a zip:

http://snipr.com/25ike-shkgq2

In his charts he doesn't indicate position in Roman numerals by fret as
in classical repertoire. Instead he indicates the string number for a
note and the finger number. Then all the rest is logical relative to
that location until you have to shift. His dictum was "if you find
yourself running out of room and have to shift up or down, it means you
should have shifted two bars before." So in his charts he
overwhelmingly indicated either 1-1 or 2-2: He believed that in reading
you should shift with your first or second finger, except under limited
circumstances, and that you should be shifting, or sliding, a single
fret at a time. "What about this clear need for a whole step shift?" I
said. "You should have shifted a half step back there." And so forth.

There are a number of places in this chart where circumstances demand
he indicate other fingers for clarity, since there are 5-fret stretches.

Initially I had asked him about diagonal shifting, where one shifts up
and over (or down and over) for each string. He asked, "You mean like
a diminished arpeggio?". I said I didn't play diminished arpeggios like
that and so Donna Lee was the next tune we worked on. The diagonals
are indicated in the the fourth bar from the end.

[Joe Finn]

Post by Gerry

Post by Joe Finn

Post by Gerry
Did you see the Barry Galbraith Fingering that I posted a year or two ago?

No, I missed that one. I'd like to see it though. ......joe

That post, from around August '06 as best I can figure, has a dead link
anyway. Here it is, and the scans will be there for a few weeks.
----------
Barry Galbraith's Fingering on Donna Lee
After having hassled a friend for years over having lost this chart, among
others, I found it inside a music folio I haven't opened in 10 years!
That still doesn't account for the others he lost though.
It's quite ugly, since it's a 30 year-old mimeograph. I scanned the
original, then half-assed cleaned the top two staffs, then the remaining
page. I started hand-editing it back into legibility and then thought, who
cares? If you can't figure out what it says somewhere let me know: I
probably remember.
The original scan, and the partial clean will be available for a couple of
http://snipr.com/25ike-shkgq2
In his charts he doesn't indicate position in Roman numerals by fret as in
classical repertoire. Instead he indicates the string number for a note
and the finger number. Then all the rest is logical relative to that
location until you have to shift. His dictum was "if you find yourself
running out of room and have to shift up or down, it means you should have
shifted two bars before." So in his charts he overwhelmingly indicated
either 1-1 or 2-2: He believed that in reading you should shift with your
first or second finger, except under limited circumstances, and that you
should be shifting, or sliding, a single fret at a time. "What about this
clear need for a whole step shift?" I said. "You should have shifted a
half step back there." And so forth.
There are a number of places in this chart where circumstances demand he
indicate other fingers for clarity, since there are 5-fret stretches.
Initially I had asked him about diagonal shifting, where one shifts up and
over (or down and over) for each string. He asked, "You mean like a
diminished arpeggio?". I said I didn't play diminished arpeggios like that
and so Donna Lee was the next tune we worked on. The diagonals are
indicated in the the fourth bar from the end.
--
Dogmatism kills jazz. Iconoclasm kills rock. Rock dulls scissors.

Gerry: One of the great things about the guitar is that there are so many
different possible approaches to things like fingering. This results in
highly individualistic styles among the many practitioners.

There are some nice ideas in that chart you posted. Even though it's a
little hard to read he's got a couple tricks that work great. Thanks!
.....joe

[charles robinson]

Post by 7/4
I always thought playing the head was the easy part...

I think you are correct about that. ........joe
--
Visit me on the web www.JoeFinn.net

But even though it's not that *hard* to play the head, it still
doesn't seem to lay all that well on the guitar.
--------------------------------------------------------------------------------
Joe Pass would shift the neck about a quarter of the way through. The fact
that he did it more than once shows that it was by intent, it must have been
easier for him to finger that way:

Charlie

[105er]

--------

Post by charles robinson
Joe Pass would shift the neck about a quarter of the way through. The fact
that he did it more than once shows that it was by intent, it must have been
http://youtu.be/yI-1sq5dFD4
http://youtu.be/Npy3DlV98yM
Charlie

Doesn't seem to lay all that easily on the bass either...:)

[charles robinson]

Post by charles robinson
--------

Post by charles robinson
Joe Pass would shift the neck about a quarter of the way through. The fact
that he did it more than once shows that it was by intent, it must have been
http://youtu.be/yI-1sq5dFD4
http://youtu.be/Npy3DlV98yM
Charlie

Doesn't seem to lay all that easily on the bass either...:)

--------------------------------------------------------------------------------------------------

I don't even like to think about that one.
BTW I went back and looked at the two videos again and it appears that they
are of the same performance (one was in black and white), So I've proven
nothing except that on one performance he shifted his guitar neck up while
playing it at that tempo (something else I don't like to think about).
Charlie

[o***@hotmail.com]

Post by 105er
Doesn't seem to lay all that easily on the bass either...:)

I've seen another Vid. of the 2 of them doing that tune, and NHOP in
both cases seems a Lot more comfortable and relaxed with the head than
Joe.

Bg

[s***@hotmail.com]

Post by charles robinson
--------

Post by charles robinson
Joe Pass would shift the neck about a quarter of the way through. The fact
that he did it more than once shows that it was by intent, it must have been
http://youtu.be/yI-1sq5dFD4
http://youtu.be/Npy3DlV98yM
Charlie

Doesn't seem to lay all that easily on the bass either...:)

I recently taught it to a bass player in my Jazz Ensemble class I
teach in high school, and I did it without writing it out- tabs or
standard notation.

This kid was able to memorize each part I showed him (I started in
12th position), and within a few weeks was able to play it kind of up
there (about 240 BPM).

While you can put down the fact that I didn't use music to notate it,
you still have to give this kid credit for being able to memorize a
rather complicated melody and play it perfectly without any mistakes.

This is the way this particular kid learns things, and I think it's
amazing that he was able to retain all that shit, considering that bop
isn't exactly his specialty.

This seems to be the way a lot of the more talented kids who play bass
and guitar
today learn things and I'm not sure that that is a bad thing (as they
say).

We played it at a concert a few weeks back and he played it perfectly.

As far as who wrote it, I went deep into this here about a year or two
ago, so you can search it out if you want to, but it seems to have
been started out by the great drummer/arranger/composer Tiny Kahn back
in the early 1940s, and then elaborated on (and improved ) by the
boppers later on.

Aaron Sachs, a bebop pioneer, gave me a tape of himself playing it
with the Terry Gibbs Sextet, and though it's not the same DL played by
Parker, there are enough similarities to justify this theory.

And enough similarities for Phil Schaap to have AS on his show to
discuss this very thing.
I've been playing in a band weekly with AS for the last 4 years and
into his 80s he's still able to blow me away on most things!

I still use DL with the BG fingering that Gerry so kindly posted a
while ago as part of my daily practice regimen, getting it up to 320,
and then blowing on it for as long as I can before my arm falls off!

To me, blowing on it is easy (it's just "Indiana"), but playing the
head at that tempo doesn't get easier...

I just played a good big band arrangement of it featuring the trombone
section- you haven't lived until you've seen 4 or 5 trombonists moving
their slides that fast!

[Joe Finn]

Post by s***@hotmail.com
I recently taught it to a bass player in my Jazz Ensemble class I
teach in high school, and I did it without writing it out- tabs or
standard notation.
This kid was able to memorize each part I showed him (I started in
12th position), and within a few weeks was able to play it kind of up
there (about 240 BPM).

That's pretty impressive.Good for him!! .....joe

[Joe Finn]

Thanks Charlie! ...joe
--
Visit me on the web www.JoeFinn.net

Post by pmfan57

Post by 7/4
I always thought playing the head was the easy part...

I think you are correct about that. ........joe
--
Visit me on the web www.JoeFinn.net

But even though it's not that *hard* to play the head, it still
doesn't seem to lay all that well on the guitar.
--------------------------------------------------------------------------------
Joe Pass would shift the neck about a quarter of the way through. The fact
that he did it more than once shows that it was by intent, it must have
http://youtu.be/yI-1sq5dFD4
http://youtu.be/Npy3DlV98yM
Charlie

[Mark Cleary]

I have in the 3rd position mostly, then I tried it in the 8th, then I
combined the two. Nothing really seem to work any better than the next.
At one point I thought reaching with the 4th was the best then I decided
moving back with 1st finger was better. After awhile it did not make a
difference maybe we better just get through the melody do what ever was
needed.

At seems to work " throw out he rules"


Mark Cleary plays Hollenbeck Jazz Guitars
Handmade http://hollenbeckguitar.com/

Post by Joe Finn

Post by 7/4
I always thought playing the head was the easy part...

I think you are correct about that. ........joe

[Dan Adler]

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."  I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy!    ...........joe
--
Visit me on the web  www.JoeFinn.net

That's pretty far from my fingering. I try to keep in mind that Parker
basically improvised the melody, and so, for me, it has to sit on
chord or arpeggio forms that I could actually use to think about
similar lines. I never finger bop heads in ways that are economical or
ergonomic, but in ways that support my way of visualizing how the line
derives from the underlying scale/chord/arpeggios.

-Dan
http://danadler.com

[h***@gmail.com]

I try to keep in mind that Parker basically improvised the melody...

Miles Davis claimed that he wrote the song and Bird took the credit.
On the other hand, given that the authorship of almost every tune
Davis claimed to have written was also claimed by someone else, I'm
not sure how reliable his word is.

[Keith Freeman]

Post by h***@gmail.com
Miles Davis claimed that he wrote the song and Bird took the credit.

There are those who say it's by Tiny Kahn.

-Keith

Clips, Portable Changes, tips etc.: www.keithfreemantrio.nl
e-mail: info AT keithfreemantrio DOT nl

[t***@jhu.edu]

Post by h***@gmail.com

I try to keep in mind that Parker basically improvised the melody...

Miles Davis claimed that he wrote the song and Bird took the credit.
On the other hand, given that the authorship of almost every tune
Davis claimed to have written was also claimed by someone else, I'm
not sure how reliable his word is.

Davis plagiarized-paraphrased Donna Lee from Fats Navarro's solo on
"Ice Freezes Red".

[Phil]

Post by Dan Adler

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."  I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy!    ...........joe
--
Visit me on the web  www.JoeFinn.net

That's pretty far from my fingering. I try to keep in mind that Parker
basically improvised the melody, and so, for me, it has to sit on
chord or arpeggio forms that I could actually use to think about
similar lines. I never finger bop heads in ways that are economical or
ergonomic, but in ways that support my way of visualizing how the line
derives from the underlying scale/chord/arpeggios.
-Danhttp://danadler.com

Dan: Totally!! I agree with you 100%. I've tried to do this myself,
but only got about halfway through.

Would you be willing to post your fingerings along with the shape
visualizations that support them?

Thanks

[Gerry]

Post by Phil

Post by Dan Adler
That's pretty far from my fingering. I try to keep in mind that Parker
basically improvised the melody, and so, for me, it has to sit on
chord or arpeggio forms that I could actually use to think about
similar lines. I never finger bop heads in ways that are economical or
ergonomic, but in ways that support my way of visualizing how the line
derives from the underlying scale/chord/arpeggios.

Dan: Totally!! I agree with you 100%. I've tried to do this myself,
but only got about halfway through.

I finger them in whatever way allows me to do the ornamentation
appropriately. It's a hell of a "method" but there you have it.

[t***@gmail.com]

Post by Gerry

Post by Dan Adler
That's pretty far from my fingering. I try to keep in mind that Parker
basically improvised the melody, and so, for me, it has to sit on
chord or arpeggio forms that I could actually use to think about
similar lines. I never finger bop heads in ways that are economical or
ergonomic, but in ways that support my way of visualizing how the line
derives from the underlying scale/chord/arpeggios.

Dan:  Totally!!  I agree with you 100%.  I've tried to do this myself,
but only got about halfway through.

I finger them in whatever way allows me to do the ornamentation
appropriately.  It's a hell of a "method" but there you have it.
--
Dogmatism kills jazz. Iconoclasm kills rock. Rock dulls scissors.

Sounds lewd, Gerry.

-TD

[Gerry]

Post by t***@gmail.com

Post by Gerry
I finger them in whatever way allows me to do the ornamentation
appropriately.  It's a hell of a "method" but there you have it.

Sounds lewd, Gerry.

It is, if you do it right.

[pmfan57]

Post by Dan Adler

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."  I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy!    ...........joe
--
Visit me on the web  www.JoeFinn.net

That's pretty far from my fingering. I try to keep in mind that Parker
basically improvised the melody, and so, for me, it has to sit on
chord or arpeggio forms that I could actually use to think about
similar lines. I never finger bop heads in ways that are economical or
ergonomic, but in ways that support my way of visualizing how the line
derives from the underlying scale/chord/arpeggios.
-Danhttp://danadler.com

I doubt very much that Parker actually wrote that one. It sounds
nothing like his other compositions.

I think that Miles actually wrote it. But as, Heyjoesilver said,
Miles sometimes took credit for other's work so who knows about this
one?

[Joe Finn]

Post by Dan Adler
That's pretty far from my fingering. I try to keep in mind that Parker
basically improvised the melody, and so, for me, it has to sit on
chord or arpeggio forms that I could actually use to think about
similar lines. I never finger bop heads in ways that are economical or
ergonomic, but in ways that support my way of visualizing how the line
derives from the underlying scale/chord/arpeggios.

I've seen several different fingerings. At any rate there are several
possibilities.In fact when I first learned the tune in high school I started
in 3rd position. I didn't play the tune for many years after that until
maybe ten years ago. By then I had totally forgotten it but it seemed like
these different students kept coming along and they wanted to play it. So I
re-learned it.

I'd like to see your fingering sometime. ....joe

[Keith Freeman]

Post by Joe Finn
Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."

It's pretty easy to finger if you base your fingerings on the triads and
allow your hand to shift up and down the neck.

-Keith

Clips, Portable Changes, tips etc.: www.keithfreemantrio.nl
e-mail: info AT keithfreemantrio DOT nl

[t***@gmail.com]

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."  I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy!    ...........joe
--
Visit me on the web  www.JoeFinn.net

I also have another take on fingerings, shifting, and plectrum
strategem, if anyone is interested ( e-mail me and I will send it
out). *Phrasing*, besides navigation, is a big purpose for the way
heads are executed. The right hand tech is just as critical.


-TD

[t***@gmail.com]

Post by t***@gmail.com

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."  I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy!    ...........joe
--
Visit me on the web  www.JoeFinn.net

I also have another take on fingerings, shifting, and plectrum
strategem, if anyone is interested ( e-mail me and I will send it
out). *Phrasing*, besides navigation, is a big purpose for the way
heads are executed. The right hand tech is just as critical.
-TD

For all you chaps who contacted me for my take on fingerings, I have
discovered some typos on my chart concerning my personal picking
strategem. I did simply did not proof properly. So here are my
corrections:

*Bar 5 takes n n slur, covering the latter three 8th notes.

*Bar 10 begins with n v, and ends with n v (four 8th notes are
corrected).


-TD

[r***@gmail.com]

Thanks. Very interesting.

[Joe Giglio]

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad."  I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy!    ...........joe
--
Visit me on the web  www.JoeFinn.net

hey joe-thanks for putting up the D-L fingering-mine is similar &
different in various spots
i do believe though that there are a few wrong notes in the real
book's notation-don't have time now but i will point them out later

jg

[Joe Finn]

Post by Joe Giglio
hey joe-thanks for putting up the D-L fingering-mine is similar &
different in various spots
i do believe though that there are a few wrong notes in the real
book's notation-don't have time now but i will point them out later
jg

I stuck with the real book version because most of the guitar players seem
to gravitate to that book. The fingering I outlined is pretty comfortable
for most guys. It allows them to get the phrasing and the style pretty
easily. It's also very important to be able to listen to a few
interpretations not just by Bird and Dizzy, but trumpet, piano, guitar etc.
Getting past the way all those eighth notes look on the page and really
making the melody sing is the ultimate destination.

I liked the story earlier in this thread about the kid who learned it note
perfect by ear. .........joe

[Five Sharp]

Here's a take on Donna Lee with a latin feel I uploaded a few days ago. I
was not going to post it here, it's just a practise take but by coincidence
there seems to be an interest in that tune now.

#####

[Joey Goldstein]

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad." I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy! ...........joe

From my book, if anybody's interested:

<http://homepage.mac.com/josephgoldstein/240-241.pdf>

[Joe Finn]

Post by Joey Goldstein

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several
possible fingerings for Donna Lee and they're all bad." I found it
helpful in teaching this tune to use a fingering guide which is now
http://www.joefinn.net/html/donna_lee.html
Enjoy! ...........joe

<http://homepage.mac.com/josephgoldstein/240-241.pdf>
--
Joey Goldstein

Joey: That works really well. I find it's very comfortable to play it like
that. Thanks for posting it. ........joe

[a***@gmail.com]

Post by Joe Finn
This has come up from time to time with various students. They never get
tired of this tune. Like a friend of mine said, "There are several possible
fingerings for Donna Lee and they're all bad." I found it helpful in
teaching this tune to use a fingering guide which is now available free on
http://www.joefinn.net/html/donna_lee.html
Enjoy! ...........joe
--
Visit me on the web www.JoeFinn.net

Haha. Joe, I agree with your friend. I learned this not too long ago
in 4-5 different positions for all the different licks in the melody.
I took the best fingerings for each lick and combined them to form
what I thought would be the best way to play this tune. After
combining them, I realized I was going all over the fretboard and it
would be very difficult to play up to speed (I'm stuck at around
180-200bpm). I was playing it up the octave and I tried not to use the
4th, 5th, and 6th strings, so that might account for some of the
difficulty.
Just my thoughts.

[Joe Finn]

Post by a***@gmail.com
Haha. Joe, I agree with your friend. I learned this not too long ago
in 4-5 different positions for all the different licks in the melody.
I took the best fingerings for each lick and combined them to form
what I thought would be the best way to play this tune. After
combining them, I realized I was going all over the fretboard and it
would be very difficult to play up to speed (I'm stuck at around
180-200bpm). I was playing it up the octave and I tried not to use the
4th, 5th, and 6th strings, so that might account for some of the
difficulty.
Just my thoughts.

Well that's ok really. The guitar lends itself to all sorts of fingerings.
You'll also see some very unorthodox approaches to the instrument in
general. That doesn't mean you can't make it work. I think it's possible
for a player to get used to a particular fingering and to be able to play it
at a fast tempo where another player couldn't. It's that kind of instrument.

In this thread you've seen some really terrific players observe that they
use different fingerings for the same melody. It's a good illustration of
the technique serving the music. ........joe

[Claus Rogge]

Post by Joe Finn
several possible
fingerings

I tried to post this one already but it doesn´t show up in my NewsReader
... sorry if this is double

(3rd string)12 13 12 (4)15 14 13 11 10 (5)13 12

(6)8 11 (5)8 9 11 9 8 (6)11 10 (5)8 11 (4)10 (5)10 8

(5)7 5 6 (6)5 6(5)4 (4)3 6 (3)5 8 6 (5)7 8 (3)5 4 (4) 5 (5) 6 4 3 6 (4)5
(3) (4)6

(5)6 8 9 (4)8 (3)6 10 9 (4)10

(4)13 11 10 (5)13 (4)13 11

(3)11 (4)14 13 11 10 10 11 12 13 11 10 (5)13 12 (4)10 13 (3) 10 11 13 11
10 (4)13 12 10 9 7 8 6 (6)8 (5)6 10 9 8 7

(3)8 (4)11 (5)8 11 (4)10 8 (5)11 8 10 (4)8 11 (3)8 9 11 9 8 (4)11 10

[Joe Finn]

Post by Joe Finn
several possible
fingerings

I tried to post this one already but it doesnŽt show up in my NewsReader
... sorry if this is double
(3rd string)12 13 12 (4)15 14 13 11 10 (5)13 12
(6)8 11 (5)8 9 11 9 8 (6)11 10 (5)8 11 (4)10 (5)10 8
(5)7 5 6 (6)5 6(5)4 (4)3 6 (3)5 8 6 (5)7 8 (3)5 4 (4) 5 (5) 6 4 3 6 (4)5
(3) (4)6
(5)6 8 9 (4)8 (3)6 10 9 (4)10
(4)13 11 10 (5)13 (4)13 11
(3)11 (4)14 13 11 10 10 11 12 13 11 10 (5)13 12 (4)10 13 (3) 10 11 13 11
10 (4)13 12 10 9 7 8 6 (6)8 (5)6 10 9 8 7
(3)8 (4)11 (5)8 11 (4)10 8 (5)11 8 10 (4)8 11 (3)8 9 11 9 8 (4)11 10

One thing is for sure. We certainly have a variety of approaches on this
tune. ........joe

[Claus Rogge]

Post by Joe Finn
We certainly have a variety of approaches on this
tune.

I play it this way because it works on bass as well.

[Joe Finn]

Post by Claus Rogge

Post by Joe Finn
We certainly have a variety of approaches on this
tune.

I play it this way because it works on bass as well.

I didn't think of that but you're absolutely right. Cool! ...joe