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Canlenls Inlraduclian. The purpose of this hook is to provide jazz-

MuslcalSymbols 2 . d . h d. . 1L"" onente slg t-rea mg matena lor gultansts at an

A Few Words About Sight-Reading . . . . . . . . . . 3 intermediate level. The exercises are written

using common jazz-style phrases and areThe"Jazz"Feel 3 . d d b ld .th ". "mten e to e p aye WI a jazz orU . M 3 ". "~ 1 smga etronpme swIng ee.

Using the CO .. . . . . . . . . ',' . . . . . . . . . . . . . . . . 3 The music is presented in four sections. The first. section is a series of blues etudes intended to

Sectlon1:BluesE!udes 4 hl L" .1.' lf . hd ' fi1" e p you laml lanze yourse Wit lierent

About Jazz Rhythms. . . . . . . . . . . . . . . . . . . . . . 12 positions on the guitar. The second section" consists of jazz rhythm studies. The third

Sectlon2:RhythmStudles 14 ." f d . h 1 f L"sectlon IS asenes 0 etu es m t e sty e 0 lamous\Section 3: Etudes Based on Jazz Standards . . . 20 jazz tunes, such as AII the Things You Are and Stella

. by Starlight. The final section is a series of duets;Sectlon 4: Ouets . . . . . . . . . . . . . . . . . . . . . . . . .32 . h 1 f 1 .

t d dsame are In t e sty e 0 popu ar jazz s an ar sand some are my own original compositions.

Bia I hope you enjoy the music. Many hooks on the

Guitarist/composer Adam Levy is a native of subject of reading a~e full of black dors, b~t don'tL A 1 h h tt d d th O. k G have much to offer m the way of real mus IC. Itos nge es, w ere e a en e e IC rave .

. .. was my goal in writing this hook to provIdeSchool of Muslc and studled wlth Ted Greene. He d . h . h .

f 1 11stu ents Wit muslc t at IS un to p ay, as we asspent the early 1990s making a name for himself in challenging.

San Francisco, teaching at the Blue Bèar School ofi Music and performing with same ofthe Bay Area's One final nare: our goal in sight-reading is to ber " .. able to play a piece of music with little or no

most mterestmg groups. Thls ultlmately led to . If k . k 1 .. " preparatlon. you ma e mlsta es, try p aymg attounng and performmg wlth Tracy Chapman, who a slower tempo, but do not stop in the middle tofeatured Levy on her Grammy Award-winning practice a difficuit passage. Finish playing thesong "Give Me One Reason." Respecte9 as a piece. Dur motto is "forward ever, backwardteacher as weIl as a performer, Levy is a regular " "

faculty member at the National Guitar Summer ~"

Workshop and bas contributed several instructionalarticles to Guitar Player Magazine. He presently ,

Ilives in New Yack Ci~- ' :~-,

Cover photos: jeff Oshiro

~ Copyright @ MCMXCVII by Alfred Publishing Co., Inc.~.JJ All rights reserved. Printed in USA. ,

z

Musical SymhDls used in Ibis hook.

;11 Go back to the beginning and play again.

11; I I ;11 Go back to the repeat sign and play again.

First time only Second time only ..11. 112. Play lst endmg first tIme, repeat to

..1-- 'I I. .11 the beginning, then skip lst ending

I I I ï 1 and play Znd ending.

D. C. al Fine Go back to the beginning and end at Fine.

D. C. al Coda Go back to the beginning and play to the coda sign (-$r), then skip to the Coda

to end the piece.

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Dlher Musical SymhDls YDU are likely ID see in music YDU win play.

D. S. al Fine Go back to the sign (~) and end at Fine.

D. S. al Coda Go back to the sign (~) and play to the coda sign (-$r), then skip to the Coda

to end the piece.

i

I "* I Repeat thep!evious measure.c- '\;. .

. r

2 "II ;":f'. I Repeat the previous'rnro measures.

3

A Few Words About Sight-Reading rou must not stop. This may mean playing at aslower tempo until your ability to sight-read

When students ask me what they should do to improves.

develop their reading skilis, my answer is always

the same: Read. Like any other area of skill, there Remember, the best war to become a better

aren't too many "secrets," just real practice. That reader is to lead. So, what are rou waiting foT?

being said, I do want to mentiQn a few things that Dust off your music stand and your metronome,

will help rou to get the most out of this hook and and let's go foT it.

any other reading material.

Th "Jazz" FeelThe fiTst Tule is to look ahead. Just as when you're e

driving a cal, rou wouldn't daTe to think of only Almost all of the music in this hook is intended to

looking at the ten feet of asphalt rou happen to be be played with a "jazz" feel. This means that two

on at the moment. You look out in front of rou, as consecutive eighth notes should sound more like

faT as rou can see, in order to be prepared foT any the fiTst and third notes of an eighth-note triplet.

obstacles that may be coming your war. This gives the music a "swing" feel. The

, exceptions to this are the duets "Dolphins on

You can also improve your reading skilis byG S " " H l ' k " d "K D "

, .,' Teen treet, ymn- 1 e an enny.learnmg to memonze. Try thlS: Look at the fiTst Th h ld b 1 d ' ' th" ese s ou ep are as wntten, Wl evenmeasure of a plece of mUSlC and then look away or . h h '" h ' h h "

elg t notes or stralg telg t s.close your eyes and play what rou can remember.With practice, rou can memorize two, fouT, eight .

or more measures. This is a skill that rou must Uslng a Metroname

develop in order to maximize your reading ability. Wh ' , d " , .t t' en practlcmg rea mg, lt s lmportan 0 use a

It will allow rou to look even farther ahead m the

h 1 k d tmetronome to ep rou to eep a stea y empo.music and it will allow rou to look at other Th '" 1 1 " ' h d.

, , , IS IS partlcu ar y Important m Slg t-rea fig.

people-the audlence, the other mUSlClans, theconductor-while rou are playing. Many jazz players like to practice with their

metronome clicking only the off-beats. In otherSometimes rou can use "games" to help keep your d ' f ' , , ' f 't 100" " ,wor s, 1 rou re practlcmg a plece 0 mUSlC a

practlce tIme fun and mterestlng. One game IS to b 't 50 b teats per mmute, set your metronome 0 ea stake a piece of music and play every other measure . d h' k f h I ' k " 2 " d " 4 "

, , per mmute an t mot e c IC s as an

(play the fiTst measure, then Jump to the thlrd 11 ' , h" 1 l 'k 1 Aft' ry practlcmg somet mg SImp e, 1 e a sca e. er

measure, then the fifth, etc.). ThlS forces rou to h b L" bI 1 ' f th' , . t at ecomes comlorta e, try p aymg some 0 euse your penpheralvlslon and look even farther h h d " h ' b k' r yt m stu les m t IS 00 .ahead. Get creatlve-read every other measure,

then try every third or fourth measure. You could U' th CD

even try reading down the page vertically. In other sing e

words, play the fiTst measure of the fiTst staff, then A CD is available demonstrating all the music in

the fiTst measure of the second staff, etc. When this 'hook. The track numbers on the CD

rou get [0 the bottom rou can go back to the top correspond with the track numbers listed

and lead the down the second measure ofeach throughout the hook. For the Etudes Based on

staff, then the third measure of each staff, and so Jazz Standards section, the guitar part can be

on. tuned out by using the balance con trol, enabling

rou to play along with the rhythm section. For the

Perhaps the most important thing to keep in mind Duets section, rou can tune out either guitar part

when practicing sight-reading is to not stop. If rou allowing rou to play either part with the CD. Be

hit a wrong note, just keep going. This will take a sure rou have practiced the music before listening

lot of concentration, as rou will probably be to the demonstrations on the CD.

tempted to stop and fix your mis takes. That's fine

I Inlroduclian Bod Tuning ~ rml I when you're working on a piece of music foT a Inlroduclion and Tuning ~ TRICK]

performance, but when rou 're practicing reading

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13

Another rhythm used frequently in jazz is the eighth-quarter-eighth.

It looks like this:

~ t ~ ~ ~- I1

Here is a common variation on the above rhythm:

I! ~ t ~ - '/ ~ - I1

Remember, the point of studying these examples won't have to sound out each and every rhythmi is to familiarize yourselfwith the most common ("one, two-AND, three...") and will be able to readi jazz rhythms. Just as when leaming to re ad the complex rhythmic phrases with ease.

English language in school, you fiTst had to leamthe sound of each letter of the alphabet, then you Now let's look at two consecutive eighth notes.leamed simple words, like "cat" and "go." The following is a series of one-measure phrases .

Eventually you progressed to harder words, then using two eighth notes starting on each possiblesentences, paragraphs, etc. Now you don't have to beat. Repeat each measure as many times as yousound out each word. You can look at a sentence like, then move on to the next measure. When youand grasp its meaning as a whole. OUT goal in sight- are comfortable with all of the rhythms, try playingreading is much the same. If you can look at a the measures in reverse order or skipping aroundpiece of music and recognize familiar pattems, you froll1 measure to measure.

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.~AOOJ~ Áp~~1S ~ d~~1( dI~q 01 ~WOUOJ1~W JnoÁ ~sn 011~~JOj 1, Uoa'U~;} noÁ s~ SUO!1!sod Áu~w s~ U! ~s~q1 Á~Id PInoqs no}.,. °s~!pms wq1ÁqJ ~AI~M1 JO dn ~p~w s! UO!1;}~S S!q,.L

saJPnlS wlpAI[H :~# UOn3as

tI

, 15

Rhythm Sludy # 3 ~ TRR[118

This study shows just how much you cao do with ODe rhythm, in this case the dotted quarter.Try this study with an even eighth-note bossa nova feel.

,iiJ

'.

1r J = 70-132

i ~ ~L i F ~-F F ~F F - ~'F' I F" ~,- F F -IF F-~ F' I

.~ ~I. F" ~- ~ F" I F F -~" F" Î F" t F F ~F F F - j

~ ~ I. - F F -~. F I F F F ~ F - '~ F . I F" ~"F F" ~ 'I

~; ~L -e - I F F - 1- F F - - 1- F Fe ~ I1

Rhythm Sludy #4 ~ TRR[119

Composed of three five-measure phrases, this study seems to turn the beat around.If you get lost, try counting out loud.

iI

~ .~ t J J ~12; =~ ~ 'I *~. I ~ ;- ~ 'I j: ~ I"' j: ~ ;;": ~ j:

.~~. .~. ~ ;-~ I 'I j~. 'lil' ;-~ 'I .;i~ 'I :i~; I ~ j-] 'I :i~; ~ I

.~ 'I ",;~' ~ ~i ~.:'-; I ~. ",;'- ~ j- ~ I 'I ;ó'-: ~. .11 .; r-; ~ 61 I

: .~ ;;-j ~ ~ I ~ ~ ~ .:: ~; I':: -: F '1:- . I'; ~ "/ ::": ~ .: l I1

i

~ -- ~--'--

11~=--;-:;1:1===~;::=~~:::~E= I1 4 '-~!o==oo'-1 I _.~.- ~'-':. ra - 1 ,8.. - 11' ~~.~ - ,8 ra ~

I ~ '~'~"';;$,~ j .~" I .. i.~ j#~-~ ~~~:$~ ~ .~" iI ,t-'~1~;-~S ~ '~1~;-~S ~ '~1~;-~S ~ '~1" iI ,j._,.~ ~~,~ ~ .~ ~~~ ~ .~ ~~~ ~ .~ I. ; j

'lvI-08 = r

'WJO) Jeq-Zllensn ~qJ .\\.°11°) J,US~Op Jnq 'ÁpOI~W ~1J!I-s~nlq e seq Ápros S!q.L

IE!]BHI~ 9# "pnlS wI(IoAI(H

I1 -.; ~ ~ I ~ ~ .~ k 1 ~ ~ S ,J:t;;: .; ~ ~ - i .

I ~ ~- .~ /; I'::~ .~ /; I ~ j-""";j .~ ~~~ ~.::~ ~ /; i11: -;; l ~ I ~ ~ ~ ~ I. I * J ~ ,1 t; ;; ~ ~ ~ * iI ~ ~- ~ .~j;;'::~ ~ .~" I ~ J~ .j;j;;~ ".::~ ~ ~; i 'lvI-08 = r

'ue!JS!Jq:) ~!fJeq:) 1S!JeJ!n~ zze[ 1e~J~ ~q1)0 ~1Á1s ~q1Áq p~J!dsu! se.\\. ÁpOI~W ~q.L '~w~q1 ~JnSe~W-OM1 S1! uo SUO!1e!JeA ~Idw!s Áuew SU!e1UO~ ~uo S!q.L

OE!JHHI~ s# "pnlS WI(IoAI(H

91

Î 17

Rhythm Stud, #7 ~ TAA[K]2

!ct Here the challenge is quarter-note tripletS. There are also a couple of half-note tripletS.I Make sure not to rush these.

J = 80-112

(

~ ~II. F" ~. aF" ~ ~ r -F ~~ I ä~. ~~~ ~.~~. I

L--3

~ ~ 1'1, ~ Q F. - F. ~ ~ - - Fini ~ - F ~ I - F ~ F, I

L--3~

L--3--1 L--3~

Rhythm Stud, # 8 ~ TAA[K]]

Again, the challenge here is triplets, but this study bas more rests than Rhythm Study #7.Sometimes rests are the hardest part of sight-reading.

J = 80-112

, ~ ä,~ ~ - ~ ~ I ~ ~ -~~~ I ~ ~ - I ~- ~ -: :-. I'

,j L---3

j ä+t ~ ~ ~ ) .11 ~ ~ ~ ~~~~~:~ ~ ~ - I~. B ~'-""I~ . I "' ~ ~ ',1 'L---~~' I §~§ I r==;5 I

~ ä # @, ~~:=! I ~ ~ F ~ I ~ ~ ~ ~ ~ .. I1

~ ä" - E ~ I ~ E - ~~~ I ~~~ E!~ I E~~~' I1

I1 ~ ~~ ~@~ ~'";;j- .~ E B F'I~;- ~~ ~ I .~ ~ ~ ~-1:

~;"; ~ ~ ~ k I ~ .~ I .I~ ~ I ~:f k ~:f Ii I ~ 6- - i:

11, ~ [1 - I .~_;~III ~ ;_~-II F 1 :fl:. F ~- ~ i~

I ~ ~ ~ ~ I. ~ I ~ I. ~:! "';j ~ I ~:! "';j ~ I. ~ I '~I. ~:! "';j ~ ; ~OEI-06 = r

.pu~ ~q1 Je~u Áne!:>~ds~ 'S~U01 :>!1eWOJq:> ~q1 JO ne q1!M Inj~Je:> ~g.~:>~!d ~IoqM ~q1 JOj s!seq ~q1 S! (:)-g-:) ~seJqd 1SJIj Ái~A ~qj. .SUO!1e!JeA pue ~w~q1 osIe S! Ápms S!qj.

\EXJU~l\$) 01# ApnlS wl(lAlIH

I1 oF ~ .;l~ ~ I .;~ ~ k .; ~~ I ~'II,;- '~?i ~ e r i:

I . ~ k';; ~ ~ I ~ ;~] ~ ~ ~ I ~ ~ k .;; l, ~ I ~ ~ ~ ~ i '-" --

Ij! - S I. ~ I j Y - rlll ~~ C-- [ ~ft o~ OF I. tI .~'~ l:..-f?j ~ ~ F ~ I r::~;- '~7f ~ ~ r f i

0171-08 = r

.~Je swq1ÁqJ ~q11eqM~u!ss~n~ 1snf 10U '~u!pe~J Áne~J ~Je pue SUO!1e!JeA :>!wq1ÁqJ ~q1 pUe1SJ~pUn noÁ ~Jns ~){ew "(9 pue spue '17 pue f s~Jnse~w) SUO!1e!JeA Áq p~MOnOj (s~Jnse~w 0M11SJIj ~q1) ~w~q1 e ~~s ~M u!e~e ~J~H

tEXJUUl \$) &# ApnlS WI(IAI(H

81

i4 19I

Rhyihm Stud, #11 ~TRR[K36

This study starts with a six-note phrase and then moves it around. See how it repeats throughout the firsteight measures? It's trickier than it looks.

~ = 90-140

] ~ ä ~ ., S ~! 11'::-; ~ I ~- ~.~. 1- Q-I(

~ ft m ~ 'I Slm ~ :~- I ~ :~ ~ I ~ 'I S [Jjl~_.1

~ ä j r":J ~ ,,~~ f :~~~~i~~~ I~~~~~~~ ~.. I1

~

Rhythm Stud, #12 ~TRR[K37

Study #12 introduces eighth-note triplets.

~ = 80-130 A

10 Coda v

~ ~ 1 ~ ~ ~S~. 1 ~~ r;;; ~ - I ~ ~ ~S~. I1

11. I 12.

t ~ ~~. ~---:.I ;11 ~. F,-~ 11 . ~ ~~ - I - ~ ~--~ - I~ 0 .: :",0 ~ I "~ 1E;p I I

3 3

3 3 3 D. C. al Coda .CODA 3

.~~ j~-~ ~~~ I ;";~ ;:iiJ~ I1 ~~ ~ .~ 'I S J~ I1

l -~ -

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I ~.;~ - I.;~ :;j J1~1 .~ .~ I. I ~ J~!

I ~ ..J I ~ ~ ~ I .,:1 s I. ~.~ I. i

I ~ ~ ~ ~ I ~;- k ~ k':'~ * I - t

I ~ ~ ~ ~11 ~ ~ F ~ I ';- " S " .; 1& ~.~ t ("suwo~ lS"jO ~IÁ'JS ~1p uI) 801-06 = i I;);)) osdAIB3 B qJ!M

~ !UUDS1s HEJJHHl ~

PInoqs noÁ '1;JUj UI 'uo!1!sod ÁUB U! P~ÁBId ~q UB;J

i~U!M.S 011~~JOj 1,UOP 1nq Á~q..L '11f.t1'!/JtJJS Áq tJ/l3JS pUB 3.tV noÁ S.t1'U!1f.L 31fJ /IV SB'~1f!I noÁ OdW~1 ÁUB 1B S~;J~!d ~S~q1 ÁBId UB;J noA q;JnS 'q1!M. JB!I!WBj ÁIqBqOJd ~JB noÁ 1Bq1 SpJBpUB1S

'SUO!1!SOd 1U~J~jj!P IBi~A~S U! W~q1 JO q;JB~ ÁBId ZZBf JO ~IÁ1s ~q1 U! ~JB UO!1;J~S S!q1 U! s~prn~ ~q..L

sp.lepUEIS zzer ua pasea sapnl3 :E# ua!l3as

02

of 21

J . ~IRR[l39

aneslng ~

Medium swing J = 90-120 (In the style of "Have You Met Miss Jones")

j ~ ~ 1 ~ ~ I,§ 'I ~. ~ ~. ~ I 'I ,,'-;", ';1 ~ - "I ~: -1

,

.~ ~ -r" ~ E~. 'I ~ I ~ 'I ~ I - I 'I S 'I ~" '" ~ "' ~~: j

11. 112.

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;i ~-&. I ~ ... b- ~ - ... - ~~ I1 I _I.~ ~ ... -'~i5I' ~ I11 ~" 1~/'~j~ I_~,_' ~j~ '~'II ~ I

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i

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...

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I ~ ~ ~-l ~ I . ~ I 1'-.-' J ~ I -J ~.J~ ~ "I ~ ~ ~-l "~

I ..~I . _I - ~,jl.l ~ ~ j-j I .i I . J~ I ~'--'~ ~ I ::;t ~ ::;t . . . - I ~ ~ . - ~ I . ~ ~ ~

I ~~ ;-jl ";~.j~ ~ I. I ~ ~ ;-l~ I .~IU ~ - i("s~nIg uv" JO ~IÁ1S ~q} UI) OZI-ZOI = r Ió)ó)j Só)DIQ 8 qJ!A\

OtlJBHl ~ I(S!IIOPUEIS saow

zz

'-

23

Rhylhm ~rRRrK41

i

Bright jazz feel ~ = 120-168 (In the style of "I Got Rhythm")

: .i; ~L t ~ ~j ~ I ~ F :- I ~ ~ ~ I

~ ~I. ~~ IF I.~ II~ ~ ~ ~.I I F F a;;;

: ~ ~ I. - ~ ~ ;~1~ ~;! - ': ~ ;~ ; -; - 11

.~ ~ I. ~ ., ~ ~ ~. ., ., ~ I êJ - ~ -: - I - ~ -I

"'\

~ ~I._~. ~1;~ ~ I - ~ 'I F I ~ 1':- ~~~:

I'J D. C. al Coda -$ ~ CODA

j ~ ~I'~F Ilr I j ~ ~;--= 11 ~~L ~ Ö~~@:. #~ EJII

,

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I1 ;;;-j j~ ;;~~ 1 ;;~~ ;;~- ;;~# 1 J,-,~'"11 j-] ~ i~ i -'opO;) 10 ";) oU

I I~ ;;"'-:= ""~ I j-~ j~ ~ I J~~~ I j-] .~ I. i~ i

) I1 ~_j-ll .;;~ J~:f /0 I .,J I';;~ .J 'i~ i-'OPO;) 01

: I ,~'" I ~ ~~ , I . I I';~ =*" .~~ ! I J--~ . ~ I . . ~ .,~ 18 I " SJ I . . SJ (i 1 ~ JII (,,~wOJ nIM ~:JU!ld Áw ÁRp~WOS" Jo ~IÁtS ~q:J uI) ZEI-ZOt = r ZJI8M. zzuf

lt!JHHI ~ a~u!.ld .101 6U!I!EM

I 172I

~.!,; .25

Harlem Express ~ TRlK43

Bright swing feel ~ = 140-168 (In the style of "Take the A Train")

.t t - I 'I ~. ~ J -:: I I . ~ ~ I - t 'I I~ I I to.c; :~ ~ ~ I I I - fi - -6 n ,---"",,~1: :1j I ' - " :::r..l "-"" W:J I1

11. I 2~ ! e#':;~~~. ;~:,:;1! 1- 'II.~. '11 ~.~-II' " J

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i;

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4.. :~

"

.4~ CODA

~ ~ LJ #.;~~ft~~~ ~. ~ ~ I e:;W- - I1

I1 - 1 - ~ ~ 1 , ~, ;-1 ~ ~; 1/0 ~ ~ ~ /0 ; 11 /0 ~ ;, 1 ,~- ~

I_.;l'j/i .~ ~ /i .;~ I~' ~ /i:f ~-Itl ~~~~ I ~. ij - _i L-8~ L--8

I ~-~--1-:f~1.1 ~- ~- ~ 1 ~ ~j~ I1 ~~ - i .\..,1

I ~, ,..I~~+ +==1 I1 ~~~ ,I; 1& ~; ~ ~ .~ :rJql ~4~ -~. r..i'jl ~ ~ ~""-"",,orl41 ~ .r~ - G=

8--' r-8-î

1 ;1 .~I ;jJ ,J I ~ ~ ~-~ I1 - ~- ,iI ~ /; .~ /; ;""";j ~ /; I ~ . ~ I rJ-"] - ~ I d. - , i

I ~-.~I ~- ~I ~~~-.flll~,i(,,~l~qMONjO :}nQ" JO ~IfJ.S ~q:} uI) ZEI-ZII = r ~U!M.S mn!p3W

ttrnu! ~ a~5a..a1(MDN

L 92

T27

I

I Like Ihs SUft ~IRH[K45

.

I

.

1

',,4 Brightly J = 132-160 (In the style of "Solar")

~ 'I ~ ~ :-. ~ I 1:- ~- ~ .- I -, ~. ~ml

,l ~ 'I :-~ B- I -. ~ . - I" ~ Ë ~- ~ - I

I

i

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I_J1 ~ J~ ~ I J'-m~J'ill1 ~~ - I ~~i " ~-;I~ if-:~ .~~~ J_~ .~tfj- /i J1 ~ /i S /i I1 t r-'i~ t

~..~ ~ Jt-,,11 ~-~~I. ~ I ~- ~ ~ I ~ .~-Î~ tI_J~~- _J_I -J"lq ~ ,Jt;S" I. j~;;l ;J~I. ; 1~ jf1/L

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(,,1Qg!IlP.1S Áq \1n~1S" JO ~IÁ1S ~qJ UI) ZEI-ZII = r ~UIM.S wDlpaw

9tlJHBj ~ enalS

sz

~~~J~~~,: 29";,~è

Althea ~IR[K47

. Medium swing J = 112-132 (In the style of "AII the Things You Are")

..~ ~Il~ ~~. ~ '/ ~'-.~~~~ ~ ~;~ ~ I-:~~ ~'~~~F '/~F" I;

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OE

) 31

Indiana Ticket ~IRR[K4!

. Medium swing ~ = 112-132 (In the style of "Donna Lee")

iI

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I

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noÁ 1~q1 os J~u1J~d ~U!P~~J JnoÁ q1!M. s1J~d q~1!M.S ~A~q ~M. pu~ '1Jooq ~q1 Jo UO!1~~S l~uIJ ~q1 S! S!qj.,

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Moderately, with a Blues feeling

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t47

Duet Adios, Amigo ~TRJI[159

0 Moderately (In the style of "Bye Bye Blackbird")

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