PRESENTATION

PRESENTATION

Petit rappel de la dfinition du Picking (ou tingerpicking)

Ce style,drivde celui desguitaristesamricainsde blues
et de country,permet de jouer en mme temps,commeun
pianiste,Ie thme,les basses,
les contrechantset le rythme.
Imaginez que votre pouce de la main droite (pour un droitier videmment) est la main gauche du pianiste et les
autresdoigts de la mme main, sa main droite.A l'coute,
le son produit doit voquercelui de deux guitares.

Reviewing the definition of Picking (or fingerpicking)

This style, which comesfrom American blues and country gui
tnrists, allows the tune, the bass,the counter melodies and tht
rhythm to be played simultaneously, much s a pianist woul(
play them. Imagine that your right hand thumb (for a right
handed person of course) is the pianist's Ieft hand and that tht
other fingers of the same hand are his right hand. The sount
that is produced must give the listener the impression of hearinS
two guitars.

But de ce liwet
Il est double.Je vous proposed'abord I'arrangementpour
guitarede cinq thmesde jazz:
- deux blues traditionnelsdans le style des guitaristesde
bluesdesannes30,"St JamesInfirmary" interprtmagnifiquementen son tempspar Louis Armstrong et "St Louis
blues", une des compositionsles plus connues de W.C.
Handy,
- trois grandsclassiques,
le fameux"PetiteFleur" de Sydney
'Ain't
Bechet,
misbehaving" du pianiste Fats Waller et
"Over the Rainbow" tir du film "Le Magicien
d'Ot".
Ensuite, I'exceptionde "Petite Fleur" o seulle thmeest
arrang,des variations ou improvisationssur ces thmes
vous sont galementproposesqui vous permettront de
pratiquerles renversements
d'accords,c'est--direles diffrentespositionspossiblessur le manched'un mmeaccord.
Les transcriptions
Voustrouverezdansce livret les arrangements
transcritsen
solfge et en tablature. Cette dernire indique, par des
numrossitussur les cordes,les notes jouer et dansquel
rythme les frapper mais leur dure n'apparatpas.Il faut
alorsse rfrer la transcriptionen solfge,si voussavezla
dchiffrer,et, danstous les cas, l'coutedu CD qui reste
I'auxiliaireindispensable.
Sur la tablature,afin qu'elle offre le plus de lisibilit possible,je n'indique que lesbassesqui sontfrappesen premier
et les notes aigus de la mlodie qui doivent ressortir.
Comme j'utilise le plus souvent des accords complets,
notammenten barr,toutesles notesentre les basseset les
aiguspeuvent tre ajoutesen fonction de l'interprtation. L encore,l'coutedu CD vous aidera.
Dans la tablature,l'astrisque(*) situau-dessus
desnotes
aigus,toujours contretemps,indique que celles-cisont
jouessur la position de I'accordsuivantet non du prcdent.Vous trouverez ce cas de figure de nombreusesfois
dansles arrangements.

The goal of this book

h is twofold goal. I begin by proposing guitar arrangementsfoi

five jazz tunes:
Two traditional blues in the style of blues guitarists from tht
"
30s: Saint lames Infirmary" which was magnificently interpret
ed in its time by Louis Armstrong, and the "Saint Louis Blues"
one of W.C.Handy's best known compositions.
Three great standards: the famous "Petite Fleur" by Sydnel
Bechet,"Ain't Misbehaving" by pianist Fats Wqller and "Ovei
the Rainbow" from the film "The Wizard of Oz".
Next, with the exception of " PeteFleur", where only the tune i:
arranged, variations or improvisations on thesethemeswill alsc
be proposed to allow you to practice chord inversions, that is tc
say,all of the dffirent positions of the same chord that are pot
sible on the fingerboard.
The transcriptions
In this book you will find arrangementstranscribed in standart
musical notation and in tablature. The later uses number:
placed on the strings, to indicate which notes are to be playec
and in which order to play them, but does not show their nott
values.If you know how to read music, you can refer to the tran
scription in standard notation. In either case, listening to tht
CD, remains an essentialguide.
For the tablature to be as comprehensible as possible, I indicatt
only the bass notes, that should be played first, and the uppet
notes from the melody, which need to be emphasised.Since ,
have most often usedfull chords, and in particular bar chords
any of the notes betweenthe low and high notes can be added
depending on your interpretation. Once again, listening to tht
CD will be a big help.
In the tablature, the asterisk (*) that is always found on the off
beat above high notes,indicates that thesenotes are played dur,
ing thefollowing chord position and not theprecedingone.Yot
will find them often in the arrangements.

La notation des accordsest effectued'aprs le systme

anglo-saxon:
A=La, B=Si, C=Do, D=R, E=Mi, F=Fa, G=Sol.

2 8 1 0 1H L

Les grillesharmoniques
Avant chaquethme,j'en donne la structureharmonique
dansune grille qui indique la suite d'accords.Elle se lit de
gauche droite et de haut en bas.Chaquecarr reprsente
une mesure quatre temps.Lorsqu'il est divis en deux,
celasignifieque les accordssont jous sur deux tempschacun.Je vousconseille,avantde dchiffrerles arrangements,
de jouer cesgrilles,comme si vous n'assuriezque I'accompagnement,afin de vous familiariser avecI'enchanement
des accords.Vous pouvez aussiessayerd'accompagnerle
CD.
IJarrangement
Le principeest simpleet il impliqueplusieurschoses:ilfaut
pouvoir,dans un premier temps,chanterle thme en s'accompagnant la guitare tout en suivantla grille d'accord,
puis remplacercesnotes chantespar les notes sur la guiIl est ncestarejouessur les harmoniescorrespondantes.
saire de bien connatre toutes les positions d'accord qui
vouspermettentd'atteindrelesnotesdu thme n'importe
quelle hauteur sur le manche.Vous pouvez d'abord vous
entranersur des mlodiesfaciles.
C'estce principe que j'ai appliquici. Pour faciliter le jeu
la guitare,on peut parfois transposerles thmes dans un
'Ain't misbehaautre ton. Ainsi, "Over the Rainbow" et
ving" sont l'origine en E bmol, tonalit trs utilise
quand il y a des instruments vent dans I'orchestration
mais qui prsente des difficults la guitare. J'ai donc
arrangcesmlodiesen C, soit un ton et demi en dessous.
Les autresarrangementssont dansles tonalitsoriginales.
Au dbut du CD je donne les notesdescordes vide de la
euitareaccordeauLa 440.

Chord Changes
Before each tune, I indicate the piece's harmonic structure by
seriesof chord changesthat shows the order of the chords.They
read from left to right and from top to bottom. Each square
representsa four beat measure.Whenthe squareis divided into
two parts, each chord should be played for two beats.Before
sight-reading thesearrangements,I suggestthat you familiarise
yourself with the chords by playing the changesas if you were
only playing an accompaniment. You can also try to accompany the CD.

The arrangements
The principle is simple and supposesseveral things. First, you
should be able to sing the tune while accompanying yourself on
the guitar and following the chord changes.Next, try to replace
the notes that you are singing by notes played on the guitar
using the corresponding harmonies. It is necessaryto have a
good understanding of all of the chord positions, so that you
can reach any note of the tune in any position on the fingerboard. Begin by practising with easymelodies.
This is the principle that I have applied. To make them easierto
play on the guitar, the tunes have sometimes been transposed
"Over the Rainbow" and "Ain't Misbehaving"
into other keys.
were originally in E flat, a key often usedfor orchestrqtionsthat
include wind instruments, but which can be difficult on the
guitar. I decided to arrange thesemelodies,a minor third lower,
in C. The other arrangementsare in their original keys.

At the beginning of the CD, I give the pitches of the open guitar
strings tuned to A 440.

St JamesInfirmarv

Saint JamesInfirmary

Conseilsd'interprtation
Ce morceause composed'une introductionde 4 mesures,
du thme de 8 mesures,de trois variations puis d'une
reprise du thme avec un final ralenti. Comme tous les
morceauxde ce livret, il est jou sur un rythme ternaire. Le
pouce de la main droite accentuesystmatiquementla
frappesur le deuximeet le quatrimetempsde la mesure,
et les contretempssont jous aux deux tiers du temps (et
non pasau milieu du tempscommeen binaire).J'appelleici
contretempsla note qui, sur la tablature,est situe entre
deux temps.L'coute du CD est le meilleur moyen pour
comprendrece rythme ternaire et le fixer dansvos oreilles.
Attention aux notes surmontesd'un astrisquequi sonnent avecl'accordsuivant.

Playing tips

Les deux premiresvariationsvous proposentI'utilisation

desrenversementsd'accordsde Am, E7 et F, La troisime
est I'imitation d'un solo de contrebasse
avecdesbreakssur
le premier temps de la mesure.Pour obtenir ce son,touffez les bassesavecle bas de la paumede la main droite.

This is made up of a 4 bar introduction, an 8 bar tune, thr

variations, and then a repeat of the tune that ends slowly. Li,
all of the pieces in this book, it is played in temary rhythm. T'
right-hand thumb systematically stressesnotes on the secor
and fourth beats of the bar, and the oftbeats are played on t,
second third of the beat (and not in the middle of the beat as
binary). I call the note that is situated between two beatson t,
tablature, the offbeat. Listening to the CD is the best way
understand this ternary rhythm and get it into your ears. P,
attention to the notes with an asterisk, and play them with t,
chord that follows.
The first two variations propose using inverted Am, E7 and
chords. The third imitates a double-basssolo with the breaks t
thefirst beat of the bar. To obtain this sound, mute the bassnot
with the lower right-hand palm.
When you play this arrangement,imagine \hat you are an enti
New Orleans orchestra with Louis Armstrong playing the trur
pet solos.

Quand vous jouerez cet arrangement,imaginezque vous

tes vous tout seul un orchestreNew Orleanso la trompette de Louis Armstrong joue les chorus.

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ST JAMESINFIRMARY
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St Louis Blues

St Louis Blues

Conseilsd2interprtation
Ce blues,au tempomdium,secomposed'une introduction
de 16 mesures,d'un thme de 12 mesuressuivi d'une variation de 12 mesuresgalement,d'une reprisede I'introduction, puis d'un dernier thme de 12 mesures.Jou sur un
rythme ternaire,deuxime et quatrimetemps accentus,
cet arrangementest dans le style de grandsguitaristesde
blues des annes 30 comme Blind Blake ou Lonnie
Jonhson.Attention aux notes surmontesd'un astrisque.
Ainsi, par exemple,dans la deuximemesurede l'intro, le
derniercontretemps(3 sur la corde de Si) participedj de
I'accordG (Sol) qui suit dans la troisimemesure.

Playing tips

Dans la troisime mesure du thme (ClG7), aprs le

deuxime temps, le contretemps (3 sur la corde de Mi
grave)doit dj tre jou sur la position de G7. Cet effet
"bassesroules"
trs utilis dansce style de blues s'appelle
et imite l'attaque de la main gauche du pianiste. Il se
retrouveplusieursfois dans l'arrangement.

This medium tempo blues,is made up of a 16 bqr introduction,

a 12 bar tune followed by a 12 bar variation, a repeat of the
introduction, and then the 12 bar tune once again. Played in
ternary rhythm with the second and fourth beats stressed,this
arrangementis in the style of great blues guitarists from the 30s
suchas Blind Blake or Lonnie lohnson.Watchout for the notes
with asterisl<s.
For example, in the second bar of the introduction, the last offteat (3 on the B string) is already part of the G
chord that follows in the third bar.
In the third bar of the tune (C/G7), the offbeat afier the second
beat (3 on the low E string), must already be played in the G7
"rolled
position. This often used effect in blues style, is called
bass" and imitates a pianist's left hand attack. It is found numer'
ous times in this arrangement.

S T L O U I SB L U E S
W.C.Handy

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Over the Rainbow

Over the Rainbow

Conseilsd'interprtation
C'est un magnifiquethme extrait du film "Le Magicien
d'O2". I1tait interprtpar Judy Garlandet est devenuun
classiquedu rpertoire jazz. Le tempo est celui d'une
balade,trs lent, mais le pouce de la main droite doit l
aussiaccentuerlesdeuximeet quatrimetempsde chaque
mesureen faisantbien ressortirles harmoniesessentielles
dansce morceau.

Playing tips

La structurede la mlodie est, comme dans beaucoupde

thmesde jazz,du type AABA:le thmeA de 8 mesures
estjou deux fois de suite,suivi du "pont" B de 8 mesures
galementet le thmeA estrepris une fois.Jevouspropose
ici une improvisationsur la squenceAABA basesur les
renversements
d'accord.Tout en gardantla mmestructure
harmonique,I'utilisation de positionsd'accord autresque
cellesdont je me serspour l'exposdu thmeme permetde
faire ressortir une ligne mlodique diffrente.A la troisimemesuredu thme, la placedu F,j'utilise le Dm7 qui,
relatif mineur de F, peut le remplacerdans la plupart des
cas.Attention aux notes signalespar un astrisque,nombreusesdanscet arrangement,et cellesattaquesen gliss
qui assurentun caractre"velout" l'interprtation.
J'utilise souventun onglet de pouce mais,ici, je frappe les
harmoniessur les tempsavecla pulpe du poucepour obtenir un son plus doux,propre cetteballade.Egalementsur
lestemps,je me sersd'un effet qui consiste jouer l'harmonie compltegrce un arpgetrs rapideeffectuentrele
pouce,I'index et le majeur.Vous entendrezcet effet dsla
premiremesure.On le retrouve tout au long du morceau
et de mme dans"Petite Fleur".

This magnificent theme comes from the film "The Wizard o.

Oz". It was sung by Judy Garland and has become a standart
of jazz repertoire. Though in the tempo of a very slow ballad
the right-hand thumb must always stressthe secondand fourtl
beats of each meqsure to bring out the piece's essentialhar
monies.
The structure of the melody is, like for many jazz tunes,of tht
AABA type: the 8 bar A theme is played twice successively,
fol
"bridge",
lowed by an 8 bar
B, and then by the A theme repeat
ed once more. Here I propose an improvisation, on the AABI
sequence,based on chord inversions. While following the ssmt
harmonic structure, using other chord positions than those .
used initially for the tune, allows me to bring out a differen
melodic line. In the third bar, instead of using F, I use Dm7
which, being the relative minor of F, can generally replaceit. Pal
attention to the numerous notes with asterisks in this arrange
ment and also to notes that start with a slide, which give tht
"
interpretationa velvety" character.
I often use the thumbnail, but here I play the harmonies on tht
beat with the fleshy part of the thumb to obtain a gentler sounc
that is more in keeping with this ballad. I also employ anotha
effect on the beat, which consistsof using a very rapid arpeggit
produced by the thumb, index and middle fingers to play tht
complete harmony. You will hear this effect in the first bar. It it
"Petite
Fleur".
found throughout thepiece and even in

2 8 1 0 1H L

17

C --'.4

--'' Am

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Ltd. USA.
EMI FeistCatalogInc. andEMI tlnited Partnerships
O 1938EMI CaialoguePartnership,
Wcrldwideprint rightscontrolledby WarnerBros.Publications
Inc/IMT Ltd.
Ltd. All rightsreserved.
Reproduced
by permissionof InternationalMusicPublications
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23

Ain't Misbehaving

Ain't Misbehaving

Conseilsd'interPrtation
C'estun des thmesles plus conntlsdu pianisteet compo;iteur FatsWaller. Le tempo est mdium et bien swingu
"Over the Rainbow",
;ur un rythme ternaire.Comme dans
es deuximeet quatrime temps de chaque mesuresont
tien accentuset toujours sur I'accord complet.Le thme
;uit la structureAABA. La variation utilise les renversenents d'accordspour introduire une nouvellelignemlodi1ue.Attention, les notes surmontesd'un astrisquesont
-ouioursl !

Playing Tips

c
c
c

A7
A7
A7
A7

Dm
D7

Dm
D7

Am
G7
C
C

A7
A7

G
G
G
G

This is one of the bestknow tunes by pianist and composer Fats

Waller. The tempo is a medium swing on a ternary rhythm. As
in "Over the Rainbow", the secondand fourth beatsof eachbar
are always accented with a full chord. The tune follows the
AABA structure. The variation uses inverted chords to introduce a new melodic line.
Be careful. there are still notes with asterisks!

Dm

Cdim

E7

D7
G

D7
G

G7
C
C

A7
E7
F

Fm

Dm7
F

G7

Fm

D7

Am

E7

E7
A7

D7
G7
F

Fm
G5+

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Petite Fleur

Petite Fleur

Conseilsd'interprtation
Voici un arrangementde la plus clbre compositionde
Sydney Bechet. C'tait le slow idal dans les surprisespartiesdes annes50 ! Il se composed'une introductionde
2 mesureset d'un thme dvelopp sur 48 mesures.Le
tempo est trs mdiunt.

Playing Tips

La difficult rsidedansle fait qu'il est jou pratiquement

entirement en barrs. Cela permet d'obtenir, avec le
o lesharmopoucede la main droite,un accompagnement
nies sonnent de manire complte.Sur les deuxime et
quatrimetempsde chaquemesure,le poucedoit, partir
de la basseindique sur la tablature, frapper les autres
notes de I'accord.Ainsi, par exemple,dans la premire
mesuredu thme (D7), le pouce, partir du 4 sur la corde
de R, fera galementsonner les notes de l'accord sur les
cordes de Sol et de Si. Leffet produit est celui d'une
deuximeguitared'accompagnement.
Attention aux notessurmontesd'un astrisquejouessur
I'accordsuivant.Elles participentpour beaucoupau swing
du morceau.Certains contretemps,comme dans la troisime mesure du thme (Gm), les 3 sur la corde de Si,
"adoucir"
doivent tre joueslgrement.Ils sont l pour
les bassesfrappessur les temps.Ecoutezbien le CD pour
les"sentir".
La partie la plus difficile se situe entre les mesures10 et 23
o- part le Bdim-tout est jou en barrs.Maintenez
bien votre index en position et passezd'un accord I'autre
sanstrop souleverles doigts mais plutt en glissantsur le
manche.

This is an arrangement of Sydney Bechet's most famous com

position. It was the perfect slow-dance for parties in the fiftiet
It is made up of a 2 bar introduction and a theme that is deve
oped over 48 measures.The tempo is very moderate.

The dfficulty is due to the fact that it is played qlmost entirel

with bar chords.Thismakes it possible to usethe right thumb t
produce an accompanimentwhere the harmoniessoundpartit
ularly full. On the second and fourth beats of each bar, th
thumb must strike the other notes in the chord according to th
bass indicated on the tablature. For example, in the first mea:
ure of the theme (D7), the thumb, from 4 on the D string, mu,
also play notes in the chord on the G and B strings. This prt
duces an effect like that of being accompanied by a secon
guitar.

Watch out for the notes with an asterisk that are played durin
the following chord. They are important making the pie<
swing. Certain offbeats,such as in bar three of the theme,(Gm
or the 3 on TheB string, must be played gently. They are there t
"sweeten"the bassnotes thst are struck on the beat.Listen car'
"feel"
for them.
fully to the CD to get a

The most dfficult sectionis found betweenmeasures10 and 2.

where,from the Bdim on, everything is played with bar chora
Keep your index finger well positioned and move from or
chord to another by sliding along the fingerboard to QVo
raising the fingers too much.

2 8 1 0 1H L

29

D7

D7

Gm

A7

A7

D7

D7

F7

Bb
Bb

Cm

F7

Am

D7

Gm

A7

A7

D7

D7

D7

Gm

D7

Gm--'
Cm

Fm

G7

Cm

Eb7

F7

A7
Cm6
G7
F7

D7

D7
A7
CmG

Bb

D7

Gm

Gm
l\-

-\

UI

> BREAK

BL'/adim
Gm
Gm --'
Eb7
---'
BREAK

Gm
Gm )

enenr

Cm
Amzl> BREAK

D7

Gm

Gm

D7

Gm--/
-" Cm

Gm

30

PETITEF L E U R
SydneyBechet

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