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Table of Contents
The Guitar Fretboard Diagram . . . . . . . . . . . . 9
Introduction ..... ..... ..... .....2 Questions 3 . . . . . . . . . . . . . . . . . . . . 36
How To Practice ..... ..... ..... .....3 The Minor Pentatonic Scale . . . . . . . . . 37
Introduction to Scales . . . . ..... ..... .....4 The A Minor Pentatonic Scale,
How Scales Work on the Vertical Forms . . . . . . . . . . . . . . 38
Guitar Fretboard . . ..... ..... .....5 Chord Diagrams . . . . . . . . . . . . . . . 40
The C Major Scale . . . . . ..... ..... .....6 Chord Progressions . . . . . . . . . . . . . . . 41
Questions 1 ..... ..... ..... .....8 Alternate C Major Scale Fingerings . . . . 43
Playing Scales Horizontally . . . . . . . . . . 44
The C Major Scale on the C Major II - V Position. . . . . . . . . . . . . . 45
Master Fretboard . . . . . . . . . . . . . . . . . 10 Scale Shifts - 2-Octave Scales . . . . . . . 46
Scale and Fretboard Position . . . . . . . . . . . . . 11 C Major II - VII PositionForms . . . . . . . . 47
C Major Scale - I Position . . . . . . . . . . . 13 The G Major Scale . . . . . . . . . . . . . . . 48
- II Position . . . . . . . . . . . 14 G Major Scale - All Positions . . . . . . . . . 50
- V Position. . . . . . . . . . . 15 E Natural Minor Scale
- VII Position . . . . . . . . . . 16 - All Positions . . . . . . . . . . . . . . . 51
- IX Position . . . . . . . . . . 17 G Major Pentatonic Scale
- XII Position . . . . . . . . . . 18 - All Positions . . . . . . . . . . . . . . 52
The Natural Minor Scale . . . . . . . . . . . . . . . . . 19 Moving and Renaming
C Major (C Tonic) Key of C . . . . . . . . . . . . . . . 20 the Vertical Scale . . . . . . . . . . . 53
The Relative Minor . . . . . . . . . . . . . . . . . . . . 21 Root 5 String - Major Scale . . . . . . . . . . 54
Questions 2 . . . . . . . . . . . . . . . . . . . . 22 Root 6 String - Major Scale . . . . . . . . . . 55
A Natural Minor Scale - I Position . . . . . . 23 Root 6 String
- II Position . . . . . . 24 - Natural Minor Scale . . . . . . . . . 56
- V Positon . . . . . . 25 Root 5 String
- VII Position . . . . . 26 - Natural Minor Scale . . . . . . . . . 57
- IX Position. . . . . . 27 Root 4 String
- XII Position . . . . . 28 - Major Pentatonic Scale . . . . . . 58
The Major Pentatonic Scale . . . . . . . . . . . . . . 29 Root 6 String
C Major Pentatonic Scale - I Position . . . . . . 30 - Minor Pentatonic Scale . . . . . . 59
- II Position . . . . . . 31 Questions 4 . . . . . . . . . . . . . . . . . . . . 60
- V Position. . . . . . 32 Master Fretboard . . . . . . . . . . . . . . . . . 62
- VII Position . . . . . 33 Major Scales Reference Sheet . . . . . . . 63
- IX Position . . . . . 34 Glossary of Terms . . . . . . . . . . . . . . . . 64
- XII Position . . . . . 35 Answers . . . . . . . . . . . . . . . . . . . . . . . 67
About The Author . . . . . . . . . . . . . . . . . 69

1
INTRODUCTION

This is a unique approach to method book instruction. Each book is presented


in a logical step-by-step format leading to a "practical" understanding of one
area of guitar study. The purpose is not to relate a lot of information on the
topic of guitar playing, but instead to build a solid foundation on which the
student and player can build, both in practical hands-on application and
practical theory and understanding. This approach can be used successfully
with the student guiding him or herself through the series or as a teaching
method for instructors.

Each page is presented as a lesson within a lesson and is visually clear with
lots of tips, clues and background. The entire series has been dry-run through
thousands of private lessons with real results before going to print.

For further study of harmony for guitar, see “Triads For Guitar” and “Arpeggios
For Guitar” by Lloyd English available as digital download or Print On Demand
at Amazon.com.
Online video lessons with Lloyd English are available at www.MyGuitarPal.com

Copyright 2013 by My Pal Online Education Inc.

www.myguitarpal.com

All rights reserved. No part of this book may be reproduced in any form or
by any electronic or mechanical means including information storage and
retrieval systems, without permission in writing from the publisher except
by a reviewer who may quote brief passages in a review.

2
HOW TO PRACTICE
When you begin to practice your scales take the following to heart and
you will save yourself a lot of frustration and wasted time.

Practicing is programming your body to repeat exactly what you are


putting in, automatically. If you are putting in mistakes your body will
remember those with the same efficiency as correct notes, so please
follow this type of routine.

1. Choose a task to practice and allow a time frame for it, let's say 10
minutes.

2. Play the exercise only at a speed (tempo) at which you are not
making mistakes!

3. Continue to repeat the scale as you would repetitions of push-ups or


sit-ups, consider it an exercise. Repetitions should be done slowly and
accurately with concentration. Follow fingerings carefully and keep them
identical ascending and descending.

4. If you get bored, stop and go on to something else. Be able to


concentrate for the duration of the time frame. Remember, you are also
working on your ability to concentrate. Everything that is worthwhile
takes discipline and care.

5. Make sure your guitar is in tune. If it isn't you are sending you ears
all sorts of wrong information. If you are unsure invest in an electronic
tuner.

I assure you this is a tried and true and accepted method, please follow it
diligently and you will see results. What you are doing is putting together
the tools required to play. Enjoy the process!

TASK - TIMEFRAME - CONCENTRATION - REPETITION

3
INTRODUCTION TO SCALES
Virtually all the music you listen to is in one way or another based on
scales. Scales are a way of organizing notes so that they make musical
sense to our ears. Over centuries, scales and their use have developed
into what we now accept as certain norms for our music in western culture.
There are many different kinds of scales: major, minor, pentatonic, whole
tone, diminished, modes, and more exotic ones such as tone rows, blues,
modes, altered chord scales, and on and on.
What I am primarily concerned with in “Scales For Guitar” is to give the
student a "practical" understanding of scales, not only providing a basic
working knowledge of how scales are formed, but how to use them in an
improvisational context as well.
Exercises presented in this book will also be very useful to the classical
student who wishes to have a comprehensive understanding of fretboard
harmony and mechanics.
Scales work as systems and the guitar fretboard is efficiently organized by
those systems. Harmony, in turn, combines scale notes into interval and
chord sounds. Together, these melodic and harmonic relationships provide
us with the raw materials for music making.

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4
HOW SCALES WORK
ON THE GUITAR FRETBOARD

A scale is a group of related notes organized in an ascending or descending


order from a starting note, in other words, a ladder of notes. The two most
common scale sounds are called major and minor. The difference between
these two scale sounds is in the distances between the notes.
The most common scale sound is the do re mi fa so la ti do scale, the major
scale. In order to come to a more complete understanding of what that means
we must examine the notes' relationships to each other, for example, from do to
re, or from ti to do.
Let's write down a representation of the scale in music notation, starting on the
"root" note C.

C to D on the guitar fretboard is 2 frets, this distance is referred to as a "tone."


D to E is also 2 frets, also a "tone." E to F is only a single fret distance. This is
a "semi-tone" or half a tone. F to G is a tone, G to A is a tone, A to B is a tone
and once again, B to C is a semi-tone.
Therefore, a major scale is made up of the following distances between the
notes.

Tone Tone Semi-tone Tone Tone Tone Semi-tone

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5
This is an E major scale. It is not all that practical, but it does demonstrate the
principle of constructing a scale. Do the same exercise starting on any note.
Remember that the starting note names the scale. Two common names for the
starting note are "root" and "tonic."
The starting note or root note is the gravitational centre of the scale, and the other
notes are attracted to the tonic or "key" centre. The C scale is said to be in the
"key of C." The E scale, in the "key of E" and so on.
I hope this helps to clear up in your mind what a scale is: a group of notes
organized by distances in an ascending or descending order from a starting note
or tonal centre or "key" centre.

6
Let's examine how these relationships of notes are expressed on the guitar
fretboard.
First, there are only seven different notes in this scale with the repeat of the first
note completing the scale; this distance of eight notes is called an "octave."

Scales are often practiced starting on the root note, then ascending through 1 or
2 or 3 octaves and then descending in the same order back to the tonic. This is
good practice and will be discussed in greater detail later.
What we will examine now is the location of all the notes of the C major scale on
the fretboard. But first, a few questions.

7
Questions 1

1. What is a scale?_______________________________________________

2. What is a tone? ________________________________________________

3. What is a semi-tone? ____________________________________________

4. How many notes in a one-octave major scale? _______________________

5. How many different notes in a major scale? _________________________

6. What are the two most common scale sounds? _______________________

7. Write a major scale according to distances only ______________________

8. What does "root" mean? _________________________________________

9. What does "tonic" mean? ________________________________________

10. What is an octave______________________________________________

11. What is a key?_________________________________________________

12. If you heard one note and one note only, could you identify the scale? ____

13. As we ascend a scale, the pitches (notes) get ____higher ____lower

14. As we descend a scale the pitches (notes) get ____higher ____lower

15. If we start the TTSTTTS scale from an "A" note, what would the name of
the scale be? ____________________________________________________

16. How many octaves would you say is the "range" of the guitar from lowest
note to highest? ________________________________________________

Answers at the end of the book.

8
THE GUITAR FRETBOARD DIAGRAM

NOTE:

1. Study this diagram before you


go on to scale exercises.

2. Roman numberals are


consistently used in designating
hand positions in guitar music.

3. “Vertical”and “horizontal”refer to
the direction your hand travels.
THE C MAJOR SCALE
ON THE MASTER FRETBOARD
Below are all the notes of the C major scale, C D E F G A B C. The C root notes
are in shaded circles.
SCALE AND FRETBOARD POSITION
The fret number your index finger is on indicates the scale's position. Positions
are indicated with Roman Numerals. Ex. I, II, III, IV, etc.
C major scale in Ist position means index finger at fret I, middle finger at fret II,
ring finger at fret III, pinky at fret IV.

C major scale in II position means index finger at fret II, middle finger at fret III,
ring finger at fret IV, pinky at fret V.
A "shift" means a change of hand position, for instance, from II position to III
position during the execution of a scale.
A "stretch" means to stretch the fingers past the four fret four-fingers margin without
leaving hand position

Vertical scale fingerings: Generally not moving out of hand position.

Horizontal scale fingerings: Scales that change position moving laterally across the
fretboard, shifting positions as a matter of course. For now we will be dealing with
Vertical forms.

Finger numbers: Index 1


Middle 2
Ring 3
Pinky 4

Strings: Numbered with a circle 1 2 3 etc.


The following pages illustrate each of the C major vertical scale fingerings as well as
the corresponding tonic chord diagram for that position. The chord tones of each
chord are indicated by the shaded grey circle in the notation at the bottom of the
page.
Read through the notes for fingering and technique tips. Run through each scale
form slowly and accurately beginning and ending on the tonic or root note. If you do
not start and end on the tonic or root note, the "tonality" of the scale will be confused
and will sound wrong because the relationships will be heard from a different tonal
centre.
With each of the scale forms learn the chord form as well.

12
NOTE:

13
NOTE:
C MAJOR SCALE V POSITION

NOTE:
NOTE:
NOTE:
1. This scale fingering has two shifts. The first shift
(ascending) is at string 2, fret X. The second
shift (descending) is at string 5, fret X.

2. Remember to always play scales identically


ascending and descending.

3. This scale form starts one octave higher than


the previous forms.

4. See alternate scale fingerings on pg. 42


NOTE:
THE NATURAL MINOR SCALE
At this point you probably have a pretty good feel for the positions of the C major
scale.
Let's move on to minor scales. Remember what we said about systems at the
beginning in case you're wondering why we are moving to minor scales already.
First, we will examine some "practical" theory.
Remember what was said about the major scale, it is a tone, tone, semi-tone,
tone, tone, tone, semi-tone spacing of notes beginning at a root note.

Now let's examine the natural minor scale.


The natural minor scale shares the same notes as the major scale. In other
words, the notes of the C major scale share all the same notes as its "relative"
minor scale, the A natural minor scale.
This is a very important point, and looking at it from the fretboard it means this: all
the scale positions of C that you have been learning will remain exactly the same
for A natural minor with one exception, the root note will now be A rather than C.
The root note will be A in the key of A natural minor and in the key of C major it will
be C.
The question then is: why is one scale minor and the other major if they both use
the same notes? Let's examine that.

19
C MAJOR (C tonic) Key of C

As you can see, even though the notes are the same, the "spacing" of the tones
and semi-tones in the minor scale is different from the spacing in the major
scale because the tonal centre has changed, consequently, so has the key.

MAJOR SCALE

Tone Tone Semi-tone Tone Tone Tone Semi-tone

NATURAL MINOR SCALE

Tone Semi-tone Tone Tone Semi-tone Tone Tone

It is the spacing between the notes and their relationship to the tonic that give the
scale its quality, not the notes individually.
The A natural minor scale is called the relative minor of C major because it shares
the same notes as the C major scale.
The tonal centre of C major is C, the tonal centre of A minor is A. The C major
scale is in the "key" of C, the A minor scale is in the "key" of A minor.

20
THE RELATIVE MINOR
In order to arrive at the root of the relative minor of any major key count up six
scale degrees from the root of the major scale.

Guitaristically speaking, this means that by learning the major scale fingerings you
have in effect learned the natural minors as well. The only difference being that
the *tonal centre has changed. However, each of the minor scales must still be
practiced individually and heard as a new sound.
With that new knowledge, let's move on.

*root note

21
QUESTIONS 2
1. Why does a major scale sound different than a minor scale?
_____________________________________________________________
2. Describe in your own words the difference in "sound" between major and
minor________________________________________________________
3. Would you call a major scale a bright sound or a dark sound?____________
4. Is the song Twinkle Twinkle Little Star in a major or minor key?________
Greensleeves?_____ Home on the Range?____ Scarborough Fair?______
5. What is the tonic of A minor?_____________________________________
6. What is the order of tones and semi-tones in a natural minor scale?
____________________________________________________________
7. Why are A minor and C major called "relative?" ______________________
____________________________________________________________
8. Where does the first semi-tone fall in a major scale? ___________________
9. Where does the first semi-tone fall in a minor scale? ___________________
10. What is the relative major of A minor? ______________________________
What is the relative major of D minor? ______________________________
What is the relative major of E minor? ______________________________
What is the relative minor of G major? ______________________________
What is the relative minor of C major? ______________________________
What is the relative minor of F major? ______________________________
11. Titles in Classical music often designate the keys of pieces, such as
"Symphony in E minor," or "Sonata in D Major." Listen to some music in
different styles and qualify whether they are major or minor.

22
A NATURAL MINOR SCALE I POSITION

NOTE:
A NATURAL MINOR SCALE II POSITION

NOTE:
1.

2.

24
A NATURAL MINOR SCALE V POSITION

NOTE:
1.

2.
A NATURAL MINOR SCALE VII POSITION

NOTE:

26
A NATURAL MINOR SCALE IX POSITION

NOTE:

27
A NATURAL MINOR SCALE XII POSITION

NOTE:

28
THE MAJOR PENTATONIC SCALE
The pentatonic scale is probably the most common scale used by guitar players
for soloing in all the pop genres. It is often used for melody writing as well
because of its striking simplicity. Before we explore the pentatonic scale on the
fretboard, let's once again look at some "practical" theory.
The pentatonic scale is a five-note scale. It does not have any semi-tones. A
major pentatonic scale can be arrived at by starting with a major scale and then
eliminating the IV and VII degrees of the scale or in other words, by removing the
semi-tones. The major pentatonic scale still sounds major because of the major
3rd distance between the 1st and 3rd notes of the scale. The distance of a tone
plus a tone is a major 3rd.

do re me fa so la ti do

29
C MAJOR PENTATONIC SCALE I POSITION

30
C MAJOR PENTATONIC SCALE II POSITION

NOTE:

31
C MAJOR PENTATONIC SCALE V POSITION

32
C MAJOR PENTATONIC SCALE VII POSITION

33
C MAJOR PENTATONIC SCALE IX POSITION

34
C MAJOR PENTATONIC SCALE XII POSITION
QUESTIONS 3
1. How many notes in a pentatonic scale? ____________________________

2. What scale degrees are eliminated in a major scale to make a pentatonic


scale?
___________________________________________________________
3. Where are the semi-tones in a pentatonic scale?_____________________

___________________________________________________________
4. How many frets is the distance of a minor third? _____________________

5. How many frets is the distance of a major 3rd? ______________________

6. Are pentatonic scales common in rock music? ______________________


7. Can you think of a guitar solo that uses the pentatonic scale?

8. What is an advantage to using a pentatonic scale in a solo situation over a


major or minor scale?

___________________________________________________________

___________________________________________________________
9. Why does the major pentatonic scale have a major sound even though two
notes have been removed from the major scale?
___________________________________________________________
___________________________________________________________
___________________________________________________________

10 Name the notes of the following scales:

C Major pentatonic scale_______________________________________


G Major pentatonic scale_______________________________________
D Major pentatonic scale_______________________________________
A Major pentatonic scale_______________________________________
E Major pentatonic scale_______________________________________

36
THE MINOR PENTATONIC SCALE

The pentatonic scale we covered in the previous pages was the C major
pentatonic. The tonal centre is C. In order to change the C major pentatonic scale
to an A minor pentatonic scale, the "tonal centre" is changed to A.

Practice each of the previous scales of C major pentatonic with A as the tonal
centre, just the same way in which we changed the C major scale to A natural
minor. Remember, C major is the key of C, whereas A minor is the key of A; A is
the tonal centre.
Let's examine a chord progression - play and listen:

This is an over-simplification, but it might make it easier to understand. Tonal


centre is often a starting and ending point.

37
THE A MINOR PENTATONIC SCALE
VERTICAL FORMS

Play the above scale forms with special attention to starting on the A root. Listen
to the sound of the scale.

38
The A minor pentatonic scale is often used in "the Blues." When it is played in a
blues format the chords may look something like this:

Try the A minor pentatonic scale over powerchord-type progressions in the key
of A and listen to the "sound." One thing to remember is that it is a five-note
scale. Because of this, its applications are increased (not so many notes to
conflict with notes in the chords). There are other reasons which go beyond the
scope of this present study.

On the next page are some typical chord progressions in the keys of C major
and its relative minor, A minor.

Record the chord progressions and practice your scales along with the
recording. Make each progression at least two to four minutes in length. All the
progressions will be written in 4/4 time, four beats per bar.
Here are chord diagrams for all the chords to be used in the given progressions.

39
CHORD DIAGRAMS

m = minor "5" refers to a two-note chord, or


F/C = means F with C bass power chord. It consists of an
x = don't strike that string interval distance of a 5th between
o = open string the two notes.
40
CHORD PROGRESSIONS

Record yourself playing these progressions and play over top with suggested scales.
Another option is to use pre-recorded playalongs at MyGuitarPal.com

41
Tonal center A - A Natural minor/A Minor Pentatonic

NOTE: Even though some of the above "tonal centers" have changed,
the scale notes remain the same. Just listen for now. We will
explore these sounds in greater detail later.

42
ALTERNATE C MAJOR SCALE FINGERINGS
Following are some alternate scale fingerings not covered earlier. These are quite
challenging and should be practiced only once the others are mastered. Follow the
fingerings carefully and practice moving each one of them up and down the
fretboard chromatically (one fret at a time).

Be careful to play all the stretches as indicated by the fingerings.

43
PLAYING SCALES HORIZONTALLY
This heading does not mean that these scales are practiced lying down (ha ha).
Up to this point all the scale forms studied have been played with the hand
crossing strings ceiling to floor.
Now we are going to focus on moving horizontally from one vertical shift form to the
next. Therefore there will be at least one shift of hand position for each scale.
1. Make sure to follow each of the scale fingerings very carefully and pay close
attention to the shifts themselves.
2. When shifting, don't bend your wrist or change your thumb position. Make the
shift with your elbow dropped and move from your shoulder. Even short distance
shifts should be made in this way.
3. Above all, don't alter the playing position of your fingers and thumb in relation
to each other. Place thumb behind the fingers so fingers and thumb form a cup
shape. Fingers attack the strings from above with a hammer-like action, not from
under the string or off to the side of it.
Let's try some hands-on scale shifts.

44
C Major II - V Position

45
SCALE SHIFTS - 2-OCTAVE SCALES

NOTE:
When shifting, don't jump your hand, use your 1st finger as a gliding
guide on the string.

46
C Major II - VII Position

47
THE G MAJOR SCALE

The G major scale is a T T S T T T S scale beginning on a G note.

EXERCISE:

Play all the C major scale positions starting on a G note and raise the F to an F#,
thereby making a G major scale.

Now, let's examine the G major scale on the fretboard.

48
THE G MAJOR SCALE
Below are all the notes of G A B C D E F# G wherever they take place on the
fretboard. G root notes are in grey circles.

Now as before, let's organize into vertical forms. Note all of these forms are going
to be a repeat of C major forms, only in different positions.

49
THE G MAJOR SCALE ALL POSITIONS

NOTE:
The above scale fingerings are all the
same as the C major scale fingerings
we have studied except played in
different positions.

50
ALL POSITIONS
THE E NATURAL MINOR SCALE

NOTE:
Remember that the E natural minor
scale uses all the same notes as the G
major scale. The only difference is the
tonal centre or the root note, which in
this case is E. Be careful to hear and
practice all these scales from the root
note E.
51
THE G MAJOR PENTATONIC SCALE ALL POSITIONS

NOTE:
Once you have played all the G major positions then
play them all from the root note E. By playing from E as
the tonal centre, the sound will be E minor pentatonic.
52
MOVING AND RENAMING THE
VERTICAL SCALE FORMS
On the following pages, we are going to examine the vertical scales as moveable
forms.
In the same way a single note can be moved, so too can a scale form be moved.
For example, if we move the note of C up a semi-tone, it becomes C or D . In the
same way a whole C major scale fingering can be moved up one fret; it now
becomes a C major or D major scale. (Remember that the notes of the C and D
major scales are the same pitches, although the note names differ, see
"enharmonic" in glossary). Therefore, if we extend this logic, all the scale
fingerings are moveable. For example, G major moved up one semi-tone will
become G or A , then up one more fret to A major, then A /B , then B, etc.
As the scale form is moved up and down the fretboard, the scale fingering remains
the same and the relationships between the notes stay the same as well. The
notes and the scale names, however, change as the pattern is moved. Carefully
examine the examples given.

Make sure that in your practice you take the time to move all the scale positions up
and down the length of the fretboard. Be sure to make a point of naming each of
the scale forms as you move them and keep your fingerings consistent.
Don't let the note names confuse you because ultimately these are all sounds to
your ears. There is no doubt that some knowledge of music theory would be a
help as you further your study of the guitar. You can studyTheory Courses for
Guitar at www.MyGuitarPal.com, Beginner, Intermediate, and Advanced Harmony.

The following six examples will make this all clear. It is wise to go through every
scale form and move them and rename them. Do the same with the chord forms
too.

53
54
Root 6 String Major Scale

55
Root 6 String Natural Minor Scale

56
58
59
MASTER FRETBOARD

62
GLOSSARY OF TERMS
66
Answers
68
ABOUT THE AUTHOR

Lloyd English studied with some of the most recognized teachers and
performers in North America including Howard Roberts, Tony Braden and
Bruce Clausen as well as workshops with Joe Pass, Herb Ellis and David
Russell, and private classical guitar studies with Eli Kassner, Robert
Jordan, Robert Feuerstein and Dr. Alex Dunn.

Lloyd's teaching appointments have included the Kassner Guitar Academy,


Toronto and the Vancouver Academy of Arts as well as his own studios.

He completed the Hindemith Harmony Method with Dr. Samuel Dolin


(Royal Conservatory of Music), the Delamont Method with Darwin
Aitken, Mr. Delamont's successor as well as the Berklee Method with
Steven Brundage, student of William Leavitt.

Lloyd has been a working musician all his life and has performed, recorded
and produced music in a range of styles, his work has been played on
syndicated radio and television networks worldwide. Today Lloyd
continues to perform, record and teach and is currently working on an
album of original compositions for guitar while being the programs
director of My Pal Online Education.

During his teaching career Lloyd has taken students from novice to
professional level performing musicians with a unique methodology of
integrated functional understanding that translates to an ability to speak the
musical language clearly and creatively through the guitar.
http://www.pesmarica.rs - Akordi i tablature za gitaru
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G Am F
Ćira - Fenomenalno Pa jedva dišem znojim se i ludim
C G
Dok ne vidim da dolaziš mi
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F Am
G C
Jer ono što mi svake noći radiš
Zar zbog žena tako mlad sam šenuo
Am G F
to se ne zaboravlja
U kafani trešti neka muzika
Društvo jedva čeka da svratim i ja
Ulazim i vidim a ima i šta
ref:
Tu na šanku pleše mala garava
Am F
Loša, loša si po mene
C G
Refren:
po mene i po moje vene
Am G
G Am F
Feno meno menalno osećam se
kad nema te, u njima
C
C G
feno meno menalno tura za sve
mesto krvi teku otrovi
Am G
feno meno menalno igraš mi ti
F Am F
G C
ja rugao sam se drugarima
feno meno menalno samo nazdravi
Am F
da žene loše utiču na njih
Am
U kafani svi su mrtvi pijani
i savete im delio
A kako i ne bi kad im igraš ti
Am G F
Okice ti sjaje osmeh obara
a sad sam gori od svih
Sad ce čika doktor da te pregleda

Ref.
Aca Lukas - Ranila me jedna zena
Jedan na jedan, garo garava
u dva do dva pijan sam ti ja
jedan na jedan, garo garava
Em C Em C
u tri do tri svi su pijani
RANILA ME JEDNA ŽENA
Em C Em C
Džej - Ko Se Sa Nama Druži RANILA ZA SVA VREMENA
G Am G Am
SRCE UZELA,DUŠU OPILA
H E H
G Am Em C
Dobro veče pesmo zapevaj sa nama
HE_____J ŽENA
H E H
pesma koju tugu blaži
Em C Em C
H E H
OTIŠLA JE JEDNE ZIME
jer nijedna pesma ne peva se sama
Em C Em C
H E H
NI'KO NE ZNA GDE I S KIME
čak i ona društvo traži
G Am G Am
SRCE UZELA, DUŠU OPILA
Refren:
G Am Em /D/
H
HE____J ŽENA
Ko se s nama druži
C# G#m
G D G D
život mu je duži
ZAPEVAJMO PESMU LJUBAVI
H
G D G D
ko sa nama pije
NEKA DOĐU DANI RADOSTI
C# G#m
Am
dosadno mu nije
NEK' SE VRATI LICE NJENO
H Em
Dobro veče vino, slatko si i fino
LICE NJENO NELJUBLJENO
nemoj noćas da se štediš
Am H Em
jer da nije naš ne bi te ni bilo
HE_____J...ŽENO
samo ništa ti ne vrediš

Ref. 2x
Ana Bekuta - Kralj ponoci
Dobro veče cure, garave i plave
šta vam noćas momci rade
Cm-------------------
ne slušajte mame, ne slušajte tate
On je pesma moje duse
ljubite se dok ste mlade
Fm---------------------
kratak pljusak posle suse
Dženan Lončarević - Loša Ab----------D7-----G
on je pesma moje duse
Cm-------------------
Am F C G
Sa njim zivot nije bajka
Fm------------------
Am F
priroda mu losa majka
Ko ti je rekao vazduh da poneseš
Ab----------D7----G-
C G

1
sa njim zivot nije bajka G E
jer cu se vratiti
Refren 2x

Cm-----------Dm Ref.
Znam da laze me E Am
Eb-----------Fm Lijepo je doc' u svoju carsiju
znam da vara me Dm G
Ab----------C7--------- lijepo je imat svoju avliju
kralj ponoci, prosjak zore F Am
Fm---------Eb------- malu ali ipak dragu
sa njim bice samo gore G F
Ab---------D7----G- i majku na kucnom pragu
promeni ga srce moje Dm G
da te doceka

On je biser zelje moje E Am


lazni biser crne boje lijepo je doc' u svoju carsiju
on je biser zelje moje Dm G
ko pobjednik se vratiti
Postelja mu moja skoljka F Am
a greh mu je teska boljka s ljudima znati kafu popiti
postelja mu moja skoljka G F
i bol i radost podijeliti
Refren 2x Dm G Am
ne mozes sam umrijeti
On je jesen puna kise
sa njim mi se lose pise
on je jesen puna kisa Em F
Ovdje su djedovi mi stari
Oci su mu mutna voda G Am
porocni mu svi od roda sjeme posadili
oci su mu mutna voda Em F
amanet najljepsi mi dali
G E
da ovdje ostarim u Bosni

Džej - Nedelja Ref.

Gm Cm Gm
Šta da kažem ocu kad me pita Džej - Od ljubavi do mržnje
Gm Cm Gm
gde sam, s kim sam, kako sam, šta radim Uvod:Em H Em
Gm D#
šta da kažem, šta da slažem sad Em D Em
D Gm D# Gm Ako od ljubavi do mrznje ima tako malo
a da ga ne rastužim, da mu bol ne pričinim. D H Em
Ja bi hteo da me mrzis, najvise na svetu ..
Šta da kažem majci što me nema, D Em D Em
da se javim u dom da joj svratim Ali bojim se da tebi do mene nije stalo..
šta da kažem šta da slažem sad D H Em 2x
a da je ne rastužim, da joj bol ne pričinim. Da sam ti bio parna ruza, u buketu.

Ref.
D Gm D# D ref.
Nedelja i svi ste tu, sve podseća na sreću Am H Em
Cm D Gm Od tuge cu za tobom za noc da ostarim,
Nedelja a više vas ja zagrliti neću, Am D G E
D Gm G7 Cm Sve su moje nove bore tvoji putevi sa njim..
Nedelja i svi ste tu, a mene s vama nema Am H Em D C
Gm D I, ne bi ni jedan trag u snegu za mnom ostao,
daleko negde sam, na put bez povratka, Am H Em H Em
Gm D# Gm Bas toliko sam bez tebe duso propao!
vas sin se sada sprema.
Em D Em
Odavno sam krivicu sacuvao za sebe,
Al Dino - Čaršija D H Em
Ali od svega sto je bilo najvise me boli,
Am D Em D Em
Opet cu nocas sanjati Sto more mojih suza prolivenih zbog tebe...
F G Am D H Em 2x
staru kucu i avliju Ni na jednoj karti sveta ne postoji....
Am G Am
opet ce dusa sletjeti Ref..
F G Am Am H Em
pravo pred njenu kapiju Od tuge cu za tobom za noc da ostarim,
Am D G E
Sve su moje nove bore tvoji putevi sa njim..
Em F Am H Em D C
Sanjacu dan da se ostvari san I, ne bi ni jedan trag u snegu za mnom ostao,
G Am Am H Em H Em
necu se buditi Bas toliko sam bez tebe duso propao!
Em F
i pasce kamen sa srca mog

2
---------F------
Adil - Prosajk i kralj
kada me ne volis
----Cm---Eb-F-
E7 Am kao tebe ja
Ja sam i svetac i gad
F Gm-----------------
kakvog me napravis ti Sve mi na dusu stavi
Dm ------B---------
dugo smo ziveli sto na srcu nosis
E ----------F-----
izmedju radosti i pakosti kao teret ljubavi
---------Cm----Eb-F-
Sad sam i prosjak i kralj neka me zaboli
niko mi ne prilazi -----Gm----------------
jedini razlog si I na vrat mi kamen stavi
moje hrabrosti i slabosti ------B--------------
pa da potonem do dna
Dm E ---------F------
Zidovi nemi su, kao ja bledi su kada me ne volis
Am G F -------C--------
ni toplih uzdaha, smeha, ni placa bebo ne voliS
Dm E Eb----F------Gm
otkada nismo tim, ni sebe ne vidim kad me bebo ne volis
F E E7
od stare srece, sada tuga je jaca

HVALA YU-MIDI Muzički Portal!!!


Ref.
Am
Ja cu poneti greh Al Dino - I sad me po tebi poznaju
Dm
i tvoj i moj
Hm F#m Hm
G
Donesite mi pramen njene kose u postelju
i nek me osude svi
Em Hm F#m Hm
nek me opsuju svi
ja nista nemam osim tu zelju posljednju
C E
C# D Em A D Em
briga me, sto ne vide drugi
da osjetim ... miris njen na jastuku ...uuu
Am
? F#m Hm
Al zasto ti
osto sam je ... zeljan u zivo..o..tu
Dm
rusis i ljubav i dom
C# D Em A D Em
F
da osjetim ... miris njen na jastuku ...uuu
da si mi dala bar znak
? F#m Hm
da ti je vredelo sve ovo
osto sam je ... zeljan u zivo..o..tu
E7 Am
bilo bi mi dovoljno
prelaz iz Hm-Em-D
Danijal Nocic

Hm Em Hm
I sad me po tebi poznaju
Al Dino - kad me bebo ne voliš
A Hm Em Hm
i sad me za tebe pitaju
Gm-------------------- Em A Hm
Ti si ta, koja uvijek kaze na dlanu mi tvoje ime citaju
Eb--------F----- Em ? F#m Hm
da ne laze nikada zbog tebe zivog me sahranjuju
Dm--------------------
al' te rijeci sad ne vaze Sad idem tamo gdje nezivi se od nadanja
Ebmaj7---------Cm-- umorila se ova dusa od prastanja
dobro znam ovaj izraz moja zvijezda nije dugo trajala
---------------Dsus4-D ti si dosla kad se vec ugasila
tvoga lica znaci kraj

? = xx5432 Gmaj7?
Gm-------B---------
Ostavljas, ovu ljubav Nemanja
---------------F-----
kao kucu staru mirises
----Dm---------------- Al Dino - Kopriva
kao ona dunja na ormaru
Ebmaj7--------Cm--------
Am G Em7 Am
ljubim te, ali te ipak pratim
Da se nisi meni nadala
-------------Dsus4---D---
Am G Em7 Am
na put bez mene, bez mene
ne bi sada pusta ostala
Am Em7
Ref. 3x
Kao zemlja kise zedna,
Gm-----------------
Dm Fmaj7
Sve mi na dusu stavi
kao majka djece zeljna
------B---------
Am G E7 Am
sto na srcu nosis
cekajucti dusa presahla
----------F-----
kao teret ljubavi
---------Cm----Eb-F-
Iz mog srca raste kopriva
neka me zaboli
koja te je davno opekla
-----Gm----------------
Kad si moju ljubav brala
I na vrat mi kamen stavi
ti si meni vjerovala
------B--------------
da ja nisam tugom otrovan
pa da potonem do dna

3
Sad ostani jer trebaš mi
Em pa makar noć još trajalo
Da, to sam ja, jer to je sve
F što je od nas ostalo
prazna postelja
G Dm Am Ne znaš ti kako je kad te drže navike
u kojoj niko ne sanja, ne znaš ti kad srce broji samo ožiljke
Am G DmAm ne znaš ti kad se ne uzvrati ljubav kako zaboli
meni je mrak i kad je dan ne znaš ti, malo njih to preboli
Am G Em7 Am
ja sam ti bona nesretan

Dzej - Ugasila si me
Iz mog srca raste kopriva
koja te je davno opekla
Kad si moju ljubav brala Džej
ti si meni vjerovala Ugasila Si Me
da ja nisam tugom otrovan
Uvod: Am E7 Am
Da,to sam ja, Am E7 Am
prazna postelja G Hm7 G
u kojoj niko ne sanja, F E7 Am
meni je mrak i kad je dan
ja sam ti bona nesretan Am Am
Ugasila si me, kao zadnju cigaretu
G G
Em7=x0200x zgazila si me, kao da sam list na vetru
F Dm
Nemanja H ja naivan, mislio sam da me voliš
E E7 Am
i da sam ti preko potreban.
Džej - Nocas mi se ne spava
Dm Am
Dm Šta me je to prevarilo u pogledu tvom
Nocas mi se ne spava i za zivot ne marim, E E7 Am
Dm skitnicom me napravilo, rasturilo dom.
tri sam case popio i krila sam dobio,
Dm C Dm Srušila si me, ko oluja staru kuću
nocas bih te ljubio...2X ostavila me, da propadam u bespuću
H ja naivan, mislio sam da me voliš
F C i da sam ti preko potreban.
Ne budes li dosla u najkrace vreme,
Gm Dm C ... Uzela si mi, svaki deo moga bića
slobodno posalji ludake po mene, opila si me, bez otrova i bez pića
F C H ja naivan, mislio sam da me voliš
neka me odvedu, s'njima da poludim, i da sam ti preko potreban
Gm B C Dm
ne mogu bez tebe, uzalud se trudim.
adil - ljubi me po secanju
Nocas mi se ne skita, to me strasno nervira
obraz sam izgubio, nacisto se ubio, Em
nocas bih te ljubio... 2X Vise me ne osecas
Hm
Ref. ali ti me najbolje znas
Am
samo tebi vredim
Dzej - Imati pa nemati G H7
zar ces drugoj da me das
Em
Džej Kad se ljubav ne cuje
Imati Pa Nemati Hm
umire i uzima sve
Em D Am Em Am
Ne znaš ti kako je imati pa nemati ne daj da nam uzme
Em D Am Em H7
ne znaš ti kako je ljubiti pa gubiti ove dobre godine
C Am C Am C Em
ne znaš ti kako je normalan biti pa poludeti Em
Am F#7 H Em Ljubi me po secanju
ne znaš ti i nikad nećeš saznati Hm E7
ne znaš ti kako je normalan biti pa poludeti ja ovako ne mogu
ne znaš ti, C#sve to zbog ljubavi Am
budi dobra sad u zlu
Ref. G H7
Em voli me, voli kao pre
Sad ostani i ne idi Em
C Gde cu ja i gde ces ti
jer znam da ćeš da zažališ Hm E7
H kad nas djavo pobedi
kad kažeš kraj Am
Em H Em samo s tobom mogu sve
C#da tako ne misliiiiš G H7 Em

4
bez tebe, sada ko sam bez teb Uvenuce jasmin beli
G----------F- ------G
kada u zoru odem iz grada
adil - laku noc Am--------------Dm
uvenuce jasmin beli
G-------------F- ------G----Am
ti ces ga samo baciti s praga
Em Dm Em
Za dusu sam te zasio Prelaz izmedju dva refrena: F- G-Am
Dm Em Dm Em Dm
I dugo plasio da te ne izgubim Uvenuce jasmin beli
Em Dm Em Dm Em naci ces nekog, jer jos si mlada
Ali na kraju puk'o je taj konac sudbine uvenuce jasmin beli
Dm Em Dm al' moja ljubav nece nikada
I nasa ljubav s njim
Am G F
Minut po minut idu godine k'o stare novine
Em
Zivim svaki dan vec ispisan Dženan Lončarević - Cvete beli
Am G
Moje lice znam da gubi ivice Am G Am
F Em Dm Uvek sam znao to
Iz tvoga secanja cu biti izbrisan G Am
Em Dm Em to da negde postojis ti,
Kome se tuzna radujes C G F Em
Dm Em Dm Em Dm zato nikada nisam ni zalio ja
I usne darujes da mu budu lek F Am G
Em Dm Em za drugim usnama
Ko crta onaj osmeh tvoj Am G Am
Dm Em Dm Em Dm Svaku drugu sam lagao
Sto skinuo je moj sa lica, zauvek G Am
Am G F svakoj pravio pakao,
Jos uvek srce krene pesice do tvoje ulice C G F Em
Em po kafanama sam novi cekao dan
Tako svaku noc te ispracam F Em F E
Am G i tebe sanjao
Ali nada kako stari, propada
F Em Dm Am G Am
Iz tvoga secanja cu biti izbrisan Pravo iz mojih snova
Dm Am G Am
REF: 2x po jastuku se rasula kosa tvoja,
Em Hm F G C
Laku noc ti jos pozelim svaku noc pod kozu si mi usla cvete beli
C D F G Am
I kad nisi moja ti lepo sanjaj ljubav bas takvu sam te sanjao zivot celi
Em Hm Am G Am
Ne znam koliko njih za tobom uzdise Ove noci pravo iz mojih snova,
C D Em Dm Am G Am
Ali jedno znam, ko te voli najvise po jastuku se rasula kosa tvoja,
F G C
pod kozu si mi usla cvete beli
Laku noc ti jos pozelim svaku noc F G Am
I kad nisi moja ti lepo sanjaj ljubav bas takvu sam te sanjao zivot celi
Ne znam koliko njih za tobom uzdise
Ali jedno znam, ko te voli najvise
Dženan Lončarević - Putnička
Za dusu sam te zasio
I dugo plasio da te ne izgubim ... Am
Nisam mogao s njom

srušio sam sve


G F Am
Aco pejovic - uvenuce jasmin beli rekao joj idi pusti me

Am
Nisam mogao s njom
Am--------------------G
Ne placi za mnom, oko moje sad ne mogu bez nje
Am--------------------G G F Am
sto cu bez traga nestati od života skupljam mrvice
Dm------------G
jer kada opet jasmin procveta C G G7 C
F- ------G------Am Ako ste moji drugovi
neces se mene secati Am G Am
budite tu dok ne svane
Boli me to sto suze tvoje C G G7 Am
odnose malo po malo nek' se u časi utopim
i tvoje nade i moje snove Am G F
sve sto je od nas ostalo da skratim noći besane

Prelaz izmedju strofe i refrena: Am-G-F


Refren:
Ref. Am
Am--------------Dm Još jednu s nogu

5
C G G
na moj račun dok sam tu Napolju mrak ko djavo
C G C F E Am
jer sutra me možda ne bude Ja u dusi vise crn
Am C C G
još samo ovu za te usne Niko me nece
E7 Am F E Am
što me više ne ljube ni na ciji ne smem prag
Am G
Još jednu s nogu gde cu sad moja ruzo
pa da idem tamo F E Am
gde me odavno niko ne čeka vise nikom nisam drag.
još samo ovu, jednu putničku Dm Am
za put bez povratka Ni na istok ni na zapad
E Am
Nisam imao s kim na sever ni jug
nisam imao gde Dm Am
bez nje me pola ostalo nigde nigde bez tebe se
E Am
Da budi ponos moj vrtim jos u krug.
ne pozivam njen broj
Kidam se malo po malo
Adil - Moje si nebo (orginal)

Aca Lukas - Volis li me Dm Am


Gresne mi usne, gresne mi ruke, to dobro znam
Dm Am
Hm-G Em A Hm-G A ti bez reci, me uvek primis, u zagrljaj
Voliš, voliš ti mene kad sam dobar
Em A Hm-G Bb
kad ti ko dami ruku dodam Ja tvojim glasom i sada pricam
Em A Am
i kaput ti pridržim Ja tvojim dahom jos uvek uzdisem
Em F#m G-A Bb
ko malo vode na dlanu držim I ne znam kako povredim lako
Am
Hm-G ... One sto volim najvise
Voliš voliš ti mene kad sam nežan
kada sam pažljiv i darežljiv Refren:
da staviš me na ranu Dm
voliš ti moju lepšu stranu Moje si nebo moje sve
C
Refren Ko prvog dana volim te
Hm-G Em A Bb
Voliš li me kad sam mrtav pijan U svakoj lazi jedina si istina
voliš li me kad pravi sam grubijan Am
voliš li me kad okolo se kurvam Sa tobom bih do zvezda s tobom bih do dna
i zdravlje zbog mene zauvek izgubiš Dm
Reci mi da me voliš U mome srcu tvoje je
C
Voliš voliš ti mene kad sam fin Jedino ljubav moze sve
kad ovo srce sve ti čini Bb
voliš ti moje maske Nijedna druga meni nije kao ti
sve što nisam u suštini Am
O samo da te nikada ne izgubim
Voliš voliš ti mene kad sam nežan Gm Am Dm
kada sam pažljiv i darežljiv Da te ne izgubim
da staviš me na ranu
voliš ti moju lepšu stranu
Dm Am
Refren Sta me to tera nocu da lutam da budem svoj
Dm Am
G Jedino cisto jedino pravo je kad sam tvoj
Ljubav je crni humor
Hm Bb
širi se kao tumor Ja tvojim glasom i sada pricam
A F#m Am
dok veruješ a ja lažem te Ja tvojim dahom jos uvek uzdisem
Bb
pa previše zbog tog pijem I ne znam kako povredim lako
pa previše zbog tog pušim Am
jer previše ipak volim te ja One sto volim najvise

Refren
Refren:
Dm
Moje si nebo moje sve
C
Džej - Gde cu sad moja ruzo Ko prvog dana volim te
Bb
Am G U svakoj lazi jedina si istina
Gde cu sad moja ruzo Am
F E Am Sa tobom bih do zvezda s tobom bih do dna
Kad na srcu lezi trn Dm
U mome srcu tvoje je

6
C dodji spasi me ti mi dugujes to
Jedino ljubav moze sve
Bb C#m----------------------H
Nijedna druga meni nije kao ti Mamuran dodjem kuci pa spustim roletne
Am C#m----------------------H
O samo da te nikada ne izgubim zivim k'o vampir ne dam suncu da me sretne
Gm Am Dm A-------------------------H
Da te ne izgubim Jos jedna noc u laznom raju iza mene
C#m---------------------H
i skupo vino i ne tako skupe zene
Dženan Lončarević - Laku noć
C#m-------------G#m------
Dženan Lončarević - Laku noć Oko mene sve ceo zivot je laz
-----A----------H----G#m
Uvod: G A Hm (2x) dodji voli me ti to jedina znas
------C#m-----------G#m------
Em Oko mene sve sad me vuce na dno
Znaš da si tu -------A----------H------C#m
šta god da kažem šta god da slažem dodji spasi me ti mi dugujes to
Hm
tebe ne mogu Evo ima godina
kako mi te nema
Em tebi kao dan il' dva
Znaš da si tu meni kao vek
tečeš u krvi nemiru prvi
Hm Ko te nocu pokriva
tebe ne mogu ne bila mu verna
moja bolest bila si
Refren sad mi budi lek
Hm G
Laku noć
Em A F#m Hm
tamo gde si možda svanulo je
G Em Aca Lukas - Licna karta Am
usnama ti oči sklapam
F#m Hm Am------------
još je sve to moje O, jesi li to ti
Am-----------------B- -----
G zena pred kojom klece svi
Jesen će B- ---------------------Am-
Em F#m Hm al', rekoh, neces uspeti
tamo gde si možda cvetalo je Am-----------------------------------
Em za mnom ces zaliti, u bedi stariti
ti bar znaš Am-------------------------
G F#m Hm od tvoga tako lepog lica
kada imaš sve a premalo je Am----------B- -----
nece ostati ni senka
I šta sam ja B- -C-----------------B- ------
umorna senka koja te čeka а ti, cuda gle, lepsa nego pre
a ti ko zna gde B- -------Am--------------------------
А ja case bacam po kafani, krvarim
I šta sam ja Am------------------------------
pola mi srca pola mi tela trazim zid da glavom udarim
kraj tebe ko zna gde

Refren 2x
Laku noć Ref.
tamo gde si možda svanulo je Dm-----------------------------
usnama ti oči sklapam Napred, nazad, nemam gde
još je sve to moje C-----------------------
licna karta prazna je
Solo: Em C D Hm (4x) B- ------------------------
samo tvoja slika stoji tu
Jesen će Am----------------B- --
tamo gde si možda cvetalo je da jednom kad umrem(bass B, A,C,B)
ti bar znaš ----C----------Dm-----
kada imaš sve a premalo je po njoj me poznaju(bass D,C,E,D,F, E)

Kraj: G A Hm Am------------
O, jesi li to ti
Izvinjavam se što akordi nisu na svom mjestu, nije do mene! :D Am--------------------B-
srecna u novoj ljubavi
B- ---------------------Am-
al', rekoh, neces uspeti
Am-----------------------------------
Aco Pejović - Oko mene sve da me zaboravis, da ces poludeti
Am------------------
C#m-------------G#m------ i da ce posle mene
Oko mene sve ceo zivot je laz Am---------C---------------B-
-----A----------H----G#m ostati bar trag na tvome telu
dodji voli me ti to jedina znas B- -------C----------------B-
------C#m-----------G#m------ а ti, cuda gle, jace nego pre
Oko mene sve sad me vuce na dno
-------A----------H------C#m

7
Ref.
Am------F- -C-------------
Jesi li to ti, stara ljubavi
B- ----------------------Gm--------Am-
sta li ti se posle mene to dogodilo
Am------------F- -C-------------
da l' si sretnija---il' pametnija
B- -----------------------Gm--------Am-
sta li te je posle mene preporodilo

Aca Lukas - Kafana na balkanu

Hm
Malo vina, malo dima,

puno tuge u ocima,


E A
nekad reci tako malo znace,
Em
sve je jasno ko na dlanu,
C
sve reci u casu stanu,
F#7 Hm
i nocas ce kafana da place.

Hm
Samo uspomene lete, kao dim od cigarete
E A
negde gore s muzikom se druze
Em
ako neka casa oda
C
neka putuje do poda
F#7 Hm
zasto nije izdrzala duze

Prelaz: Hm, A

Refren
D
Kap kise u okeanu,
A
za kafanu na Balkanu,
Em G A Hm
koga briga ko nocas place,
A F#7 Hm
sipaj, nek boli jos jace.

Džej - Rađaj sinove

Uvod:
Em, A, D, C-D-Em

Em A D
Ja glasam za ljubav, reskiram zbog nje
C D Em
sve sto imam u zivotu
Em A D }
E to sto si meni ucinila ti } 2x (drugi put umjesto Em-A-D ide Em D# D,
pa onda C-D-Em)
C D Em }
visoka je cena za lepotu }

Ref.
Em D
Radjaj sinove, idi drugome
C D Em
samo pusti me na miru
Em D
necu umreti, jos cu voleti
C D Em
makar negde u Sibiru