"Clap" by Steve Howe transcribed by Conall Gallagher (Rev. 1.81) conall@wavefront.com [PRELIMINARY DRAFT: This is a work in progress! I took a first pass at this transcription by trying to consolidate the "typical" or "best-of" features from the various versions of "Clap" (rev 1.0, which was on NFTE for some time). That proved to be unworkable since there are so many interesting variations. So I then started a second pass, transcribing all three available CD versions at once with even greater accuracy--including the addition of accurately timed measures. I've also included other interesting variations from non-CD sources. This takes time! At this point on the second pass (rev 1.81, May 1998), I am about half finished. You can tell the first pass charts by the "?" after the chart number and source reference; e.g., "24=>> TYA?". This does not mean that the first pass transcription is bad. It is "just" 90% accurate instead of 99% accurate as it will be soon. Check back for periodic updates (http://home.att.net/~deb.ed/yes/index.html) or e-mail me for the very latest.] Introduction: This document is more than a transcription of Steve Howe's "Clap"; it is a monumental effort that (1) documents three-plus versions of the song in *exact* detail and (2) describes the technique Steve uses to play them in as much detail as can be gleaned from video sources (a lot). In short, it is a thesis in "Clapology." If you object to a long thesis, there are plenty of short (and inaccurate) "Clap" transcriptions available. However, if you want to *really* learn the song, your search is over--but you will need to study! Actually, it is likely that you will learn much more than just "one song"; you will learn a whole new way of playing the guitar. Playing Technique and Other Hints: Howe's right hand technique involves holding a flatpick with the thumb and index finger and then using the middle (m) finger and occasionally the ring (a) finger to fingerpick. Most of the song could be played fingerstyle, but the several very fast licks demand the use of a flatpick. And the distinct and separate bass and melody lines demand the use of fingerpicking. Therefore, it is *essential* that this hybrid right-hand technique be used. I tend to use my ring finger (a) for most fingerpicking, with help from my middle finger (m) as required. Steve mainly uses his middle finger (m). Use whatever is more comfortable for you. Here is a Q&A quote from Steve's Web site (www.nfte.org/steve.howe/): Q: I was wondering how you got into the "rag-time" sort of approach you use in many of your pieces like "Clap" and "Ram" (asked by Johan Hammar). A: I first heard that kind of guitar playing by Big Bill Broonzy and then Chet Atkins, Merle Travis, Scottie Moore; all those guys were playing picking guitars. I do it by holding a plectrum and picking with my second [m] finger, and it's one of the nicest ways to play a guitar, it's really good fun. I was playing it just an hour ago. Steve does not maintain nails on his right hand; instead he uses his bare fingertips to pick. In general, nails give more attack to the sound. I have tried both ways and either works well. My personal preference is to use nails. (But steel strings tend to chew up nails; thankfully, mine are quite tough.) Steve also uses a very heavy pick. This allows you to get more sound out of the strings when you want it. At the same time, you can still play softly if desired. With a light pick, your volume range is more limited, but I find that a lighter pick is more responsive. (I use a Clayton 0.80 mm.) Experiment. You *need* a decent guitar to play "Clap." Not necessarily a Martin 00-18, but something that is responsive, with good action, and easy to play. It should have a solid top as a minimum. The song cannot be played on a "Silvertone Special"; don't even try! I prefer standard light strings (0.012"-0.054"). I'm not sure what strings Steve uses. About the Tab: I've added an "N" line, one or two "R" lines, and an occasional "L" line above each tab chart. "N" is for notes, which are footnoted below each chart. "R" is for right hand, and "L" is for left hand. (My apologies to all the lefties out there.) See the legend below. I always show basic right hand technique in the charts because it is so important and may not be obvious. In strumming and fast-lick passages, I also indicate flatpick upstrokes and downstrokes. Do not ignore these! They are important for developing a smooth flow (however awkward or trivial they may seem at first). The stroke indications also tell you about time since each stroke is usually (but not always) equal to an eighth note. This can be very helpful. Note that I will show strokes even when the strings should not be played. They should be played only if there is also a "P" notation. These "air strokes" are very helpful in keeping the rhythm consistent. I show left hand fingering only when it may not be obvious or is very important--typically for the fast licks. Notes are being held throughout the song. In most cases, I do not indicate the hold because it would be difficult to do and it should be fairly obvious anyway. Typically, your left hand is in a chord position and you are picking through it sequentially--for instance, in bar 3 of chart 1, the D on the 3rd fret gets held throughout the measure, though I don't explicitly indicate it. Here it would be very "unnatural" to lift your 1 finger off the third fret just after playing it. ("Clap" is a very natural song!) You just let the note ring. In cases where it is not obvious or is important, I will indicate a held note. Right Hand (R) Line Left Hand (L) Line ----------------------------------- ----------------------------------- P Use flatpick (or plectrum) 1 Use index finger m Use middle finger 2 Use middle finger a Use ring (annular) finger 3 Use ring finger p Pull-off* 4 Use little finger h Hammer-on* s Slide* Tab Symbols ^ Downstroke with pick ----------------------------------- v Upstroke with pick *7* Harmonic at fret shown t Tap body percussively as 3==> Hold shown note thus far indicated on chart ! Tap body (5) Note is barely audible, implied, or vibrating sympathetically x Damped or dead note (no pitch) * Pull-offs, hammer-ons, and slides are obviously made with the left hand, but since they produce the sound they are included on the right hand line. Because it is difficult to tell which right-hand fingers Steve is using to fingerpick with in every instance, I have shown my preferred right-hand technique in the tab, except as noted. (If you substituted an "m" for my "a" everywhere, you would probably be fairly close to Steve's actual right-hand technique.) Everything else--string/fret positions and left-hand fingering where shown--is always as Steve actually plays it. Uncertainties are openly and honestly noted. The tune is in 4/4 time--very quick 4/4! I have not included time values for the notes; however, I have accurately indicated measures, so you will know that each bar consists of the equivalent of four quarter notes' worth of time (except as noted). It is up to you to listen to recordings of "Clap" and feel the time. In most cases, the timing will be obvious--the song consists almost entirely of quarter and eighth notes. And I have written the notes with proportional spacing in most cases--an eighth note is separated from the following note by one space and a quarter note is separated by three spaces. I've numbered the tab charts for reference. In each chart, the three different CD versions (see below) are printed "synoptically" for easy side-by- side comparison. The source, track, and time reference is noted above each tab chart; e.g., TYA, CD2= 0:10 (The Yes Album, CD track 2, beginning at the 0:10 mark). In cases where there is an interesting variation that is only on a video version, I will show that too. How This Transcription was Made: I used three sources of audio (CD), which I slowed down with a special sound program on my PC that preserves pitch: The Yes Album (TYA), 1970 An Evening of Yes Music Plus (YMP), 1989 Not Necessarily Acoustic (NNA), 1993 I also used five sources of video, which I went over again and again in slow motion: Yessongs (YSG), 1972 Yes Live 1975 at QPR (QPR), 1975 Steve Howe Unplugged: Live at Montreux Jazz Festival (MJF), 1979 An Evening of Yes Music Plus (YMP), 1989 Night of the Guitars, Part 2 (NTG), 1989 I used the slowed down audio to get the proper notes and the video to get the proper left and right hand fingering. That's why the charts show mostly the audio versions. In instances in which a video version is transcribed, I copied the audio track over to my PC and slowed it down. And it could not have been done without the help of my friends Ariel Aramburu and Ed Schaum. Thank you! |<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 0->> YSG N 1 * ...Intro.................................................*...................... R m * m m R P P * P E--------------------------------------------------------|---------------------| B--------------------------------------------------------|---------------------| G------------------------------------------------2-------|-1-------0-----------| D--------------------------------------------------------|---------------------| A----------------------------------------0-------------2-|-------4-------------| E--------------------------------------------------------|---------------------| Note 1: The tab here is written proportionally, but he speeds it up just slightly as the intro progresses. The beat values are 1, 3, 4&, 1, 2&, 3. Except for the first open A, the emphasis is on the G-string notes, which leads one into the tune--starting the feet tapping--in a half-time sort of way (i.e., on beats 1-3-1-3 1-3-1-3). This same intro is used on QPR. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 1 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1->> TYA, CD2= 0:10 N * 1 1 * 2 3 * 4 ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.................. R a a * a m a m * a m * a m a a R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-----------------|---------------------| B-------7------8-----|---7-------5-----|-----3-----------|-3---------3---0-----| G-(7)---7--------7---|-----7-0-----6-0-|-----4-----4-----|-2-----2-------------| D--7-------(9)---9---|(7)--7-------7---|-5---5--(5)--5---|(0)--0-------0-------| A-----------10-------|-9-------7-------|-5-------5-------|-0-------0-----------| E--------------------|-----------------|-----------------|---------------------| 1->> YMP, CD3= 0:34 N * 1 1 * 2 * 5 ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.................. R a a * a m a m * a m * a m a m R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-----------------|---------------------| B-------7------8-----|---7-------5-----|-----3-----------|-3---------3---------| G-------7--------7---|-----7-0-----6-0-|-----4-----4-4---|-2-----2-------0-----| D--7-------------9---|-----7-------7---|(5)--5-------5---|-----0-------0-------| A-----------10-------|-9-------7-------|-5-------5-------|-0-------0-----------| E--------------------|-----------------|-----------------|---------------------| 1->> NNA, CD22= 0:01 N * 1 1 * 2 * 6 4 ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.................. R a a * a m a m * a m *(a) m m a R P P P P * P P P P * P P P P P * P (P)P P E----10--------------|-----------------|-----------------|---------------------| B-------7------8-----|---7-------5-----|-----3-------3---|(3)==>---------0-----| G-------7--------7---|-----7-0-----6-0-|-----4-----4-4---|-----2---2-----------| D--7-------------9---|-----7-------7---|(5)--5-------5-0-|-------------0-------| A-----------10-------|-9-------7-------|-5-------5---5---|-0----(0)0-----------| E--------------------|-----------------|-----------------|---------------------| Note 1: This passing open G is very quick and made as you transition between chords. Note 2: This right hand technique and notation is very common. You sort of "grab" the strings with the pick and "a" (or "m") finger. The finger brushes the two (or more) strings indicated. E.g., in this case (according to my notation), the pick gets the D string and the "a" finger gets both the B and G strings. At least that's how I typically do it. But you could also use both the "m" and "a" fingers at the same time, the "m" getting the G string and the "a" getting the B string. It appears that Steve may do this, but it's tough to tell. Experiment. Note 3: It sometimes sounds like he's picking the high D (3rd fret) here again with the bass D. But if you listen *very* closely (I slowed down 600%), you can hear the high D's sustain carry through from the G triad just played. I think this phenomenon must be caused by octave overtones in the low D. (This was also verified by still-framing the QPR video and watching his right hand.) Note 4: This passing open B is similar to the open G of note 1. It leads into the following A of the D/A chord. You're moving your left hand as you play it. It is most distinct on TYA. Note 5: This passing open G is similar to the open G of note 1. It leads into the following A of the D/A chord. You're moving your left hand as you play it. Note 6: This bar on NNA is almost impossible to make out. It seems like he doubles up the open A for some reason in the middle of the bar. The high D is always just a drone. And the first high A (2nd fret) seems to occur on the 2 beat instead of the 2& beat, which is very strange. I would not even try to play this--it makes no sense! But that's what I hear. Perhaps it's a mistake. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 2 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2->> TYA, CD2= 0:15 N * * 1 2 2 2 * 2 2 2 3 4 5 ...D/A......G........*.D/F#....A/E.....*.F#7...............*.................... R a a * a m a m * a a m * a m a ^ v ^ R P P P P * P P P P * P P P P * P P P P P E----10--------------|-----------------|-------------------|-------------------| B-------7------8-8---|---7-------5-5---|-----7-----7-------|---7-----7---------| G-(7)---7--------7---|-----7-0-----6-0-|-----9-------9-----|-----9------(9)----| D--7--------9----9---|(7)--7--(7)--7---|(8)--8---------8---|-------8-----8-----| A-----------10-------|-9-------7-------|-9-----------------|-9---------9-9-----| E--------------------|-----------------|---------9---------|---------------8---| 2->> YMP, CD3= 0:38 N * * 1 * 2 2 2 4 5 ...D/A......G........*.D/F#....A/E.....*.F#7...............*.................... R a a * a m a m * a m * a m a ^ v ^ R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-------------------|-------------------| B-------7------8-----|---7-------5-----|-----7-------------|---7-----7---------| G-------7--------7---|-----7-0-----6-0-|-----9-----9-9-----|-----9-------9-----| D--7-------------9---|-----7-------7---|-----8-------8-----|-------8-----8-----| A-----------10-------|-9-------7-------|-9-----------------|-9----------(9)----| E--------------------|-----------------|---------9---------|---------------8---| 2->> NNA, CD22= 0:05 N * * 6 1 * 2 2 2 7 5 ...D/A......G........*.D/F#....A/E.....*.F#7...............*.................... R a a * a m a m * a m m * a m a ^ v ^ R P P P P * P P P P * P P P P * P P (P)P E----10--------------|-----------------|-------------------|-------------------| B-------7------8-----|---7-------5-----|-----7-------------|---7-----7---------| G-------7--------7---|-----7-0-----6-0-|-----9-----9---9---|-----9------(9)----| D--7-------------9---|-----7-------7---|-----8-------8-----|-------8----(8)----| A-----------10-------|-9-------7-------|-9-----------------|-9----------(9)----| E--------------------|-----------------|---------9---------|---------------8---| 2->> QPR N * * 1 * 8 4 5 ...D/A......G........*.D/F#....A/E.....*.F#7...............*.................... R a m a * a m a m * a m * m a ^ v ^ R P P P P * P P P P * P P P P * P P (P)P P E----10--------------|-----------------|-------------------|-------------------| B---------0----8-----|---7-------5-----|-----7-------------|-------7-----------| G-------7-------(7)--|-----7-0-----6-0-|-----9-----9-------|---9-9-9--(9)------| D--7-------------9---|-----7-------7---|-----8-------8-----|-----8--(8)8-------| A-----------10-------|-9-------7-------|-9-----------------|-9---------9-------| E--------------------|-----------------|---------9---------|-------------8-----| Note 1: To set up for the following picking, it makes sense to play this chord fragment with "P," "m," and "a," instead of just "P" and "a" as I have indicated (I have only two tab lines). This is what Steve does--the QPR video shows a very clear shot of this technique here and especially on the repeat (chart 7) where the camera looks right down the neck from the head toward his right hand. Note 2: This is a *very* quick triplet. The high F# definitely comes slightly after the bass note. Note 3: On TYA, Steve plays this F# very softly; perhaps it was not meant to be played. This would be the 3rd beat. See note 8. Note 4: From QPR video, this appears to be an upstroke strum on the F#7 chord. He seems to purposely do an upstroke to prepare for the following downstroke on the C, which follows very quickly. This upstroke strum falls on the "3&" beat. Note 5: This C is always very emphatic. From QPR video, he seems to strum here on a strong downstroke, but I don't hear much more than the C on any version. Also, his 3 finger (F#) is always in the air as the C is played, which doesn't seem to make sense since it could be held into the following Bm7 chord (this is what I do). Experiment. This downstroke on the C falls on the 4th beat. Note 6: This bar is *very* difficult to hear on NNA. So I'm not sure of this. Note 7: On NNA, I don't hear anything here. Perhaps it's a mistake. Note 8: Similar to TYA (see note 3), he hits this A# ever so lightly on QPR (unintentionally I'm sure). The video shows his right hand in a strong downstroke strum here (3rd beat), which he must be using to prepare for the following quick upstroke-downstroke sequence. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 3 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3->> TYA, CD2= 0:19 N 1 * 2 3 4 4 * 5 6 6 * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7................... R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a ^ v ^ v ^ v R P P P P * P P P P P P * P P P P * P P P P P P E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5--(2)2---2-2-x------| B-------------------|----(5)5----(4)--|(3)--------------|(3)--3-3---3-3-x------| G-------------------|-----6-6---x-5-x-|-4---------------|-----2-2---2-2-x------| D-(7)-(7)------(7)--|-----5(5)--x-4-x-|-3--(3)-----(3)--|-----4(4)--4-4-x------| A-(9)--9--------9---|-----7-----x-6-x-|-5---5-------5---|-2-----------2-x------| E--7-------7--------|-5---------x-4-x-|-3-------3-------|----------------------| 3->> YMP, CD3= 0:43 N 1 * 2 3 4 4 * 5 6 6 * 7 ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7................... R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m R P P P P * P P P P P P P * P P P P * P P P P E------7---9-10-----|-9-----5-5-------|-----3---5-7-----|-5-----2--------------| B-------------------|-------5-5-x-4-x-|-3---------------|(3)----3---3-3--------| G--------------(7)--|-----6-6-6-x-5-x-|-4---------------|-------------2--------| D--------------(7)--|-----5-5-5-x-4-x-|-3--(3)-----(3)--|-----4-------4--------| A------9--------9---|-----7-----x-6-x-|-5---5-------5---|-2--------------------| E--7-------7--------|-5-----------4-x-|-3-------3-------|---------2------------| 3->> NNA, CD22= 0:09 N 1 * 2 3 4 4 * 5 6 6 * 7 ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7................... R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m (m) R P P P P * P P P P P P * P P P P * P P P P E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5-----2--------------| B-------------------|----(5)5----(4)--|(3)--------------|(3)--------3--(3)-----| G-------------------|-----6-6-----5---|-4---------------|--------------(2)-----| D-----(7)------(7)--|-----5(5)--x-4-x-|-3--(3)-----(3)--|-----4-------4--------| A------9--------9---|-----7-----x-6-x-|-5---5-------5---|-2--------------------| E--7-------7--------|-5---------x-4-x-|-3-------3-------|---------2------------| Note 1: Steve frequently strums this chord fragment as the third strum in the transition from the F#7. From QPR video, it's a downstroke. Note that all the strums in these charts are very quick yet very controlled and tight (covering just a few strings). Very difficult! Note 2: E (7th fret) is fingered as high C# (9th fret) is released unless you have hands as large as Steve's. Note 3: Play the high A of the melody here. On the QPR video, he clearly uses his finger (not pick) to get it. But he also plays it in a more discrete manner on QPR. (QPR is played very cleanly overall.) On other versions that are typically more "strummy" (like those above), the videos do not show his right hand. But I have to assume he's using the pick and strumming. Experiment. Note 4: There is a quick little damped strum preceding both the Ab7 and the following G7 chords. These appear to occur on the upstroke. And, from video, these are definitely dominant 7th chords; his 4 finger is clearly in the air. Note 5: The G7 strum includes the G note, which is the first part of the alternating bass that would otherwise be picked discretely. Note 6: Slide up with 4 finger from 5th to 7th fret and then pick the B as shown. You may have to briefly let go of the chord as you do this. Note that Steve does *not* let go; this is very clear on the QPR video. This allows him to play the next alternating bass note (D on 5th fret). This is extremely difficult for those of us with medium size hands (like me), but it can be done with practice. It may help to lift the lower part of the barre (cranking your wrist forward yet more), which makes it easier to shift the hand just enough. If an open B gets in there that's okay since B is being played anyway (by 2 finger). Also, on the three audio versions, the sound of the bass note is more percussive than it is D pitch. It sounds like a short strum on damped strings. Note 7: This bar is how he plays it on the YMP and NNA versions. The other video-only versions, especially QPR and MJF sound similar. The low F# is definitely in all of these. The classic TYA version (oldest) is different. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4->> TYA, CD2= 0:23 N 1 * 2 3 4 1 * 2 3 4 5 ...G7..............*.................*.......................................... R a a p * a a a p * a a a m R P P P P * P P P P * P P P P E------------------|-----------------|-----------------------------------------| B------3-----5-3---|-5===>-3---5-3---|-5===>-3---5---3-------------------------| G------4-----------|(4)----4---------|(4)----4-----4---------------------------| D------------------|-------3-----3---|-------3---------------------------------| A-(5)--5-------5---|-----5-------5---|-----5-----------------------------------| E--3-------3-------|-3-------3-------|-3-------3-------------------------------| 4->> YMP, CD3= 0:47 N 1 * 6 1 * 6 1 ...G7..............*.................*.......................................... R a a p * a a a p * a a a p m R P P P P * P P P P * P P P P E------------------|-----------------|-----------------------------------------| B------3-----5-3---|-5===>-3---5-3---|-5===>-3---5-3---------------------------| G------4-----------|(4)---(4)--------|(4)---(4)------0-------------------------| D------------------|-----------------|-----------------------------------------| A-(5)--5-------5---|-----5-------5---|-----5-------5---------------------------| E--3-------3-------|-3-------3-------|-3-------3-------------------------------| 4->> NNA, CD22= 0:13 N 1 * * 7 8 * 9 10 ...G7..............*.................*.................*........................ R a a p * a s a m * a a a m * a a a m a R P P P P * P P P P * P P P P * P P P P E------------------|-----------------|-----------------|-----------------------| B------3-----5-3---|-6-5---3---------|-5---5---3-------|-6---5---3-----0-------| G------4-----------|-----------4-4---|-----------4-4---|-----------4-4---------| D------------------|-------------3---|-------------3---|-------------3---------| A-(5)--5-------5---|-----5-------5---|-----5-------5---|-----5-------5---------| E--3-------3-------|-3-------3-------|-3-------3-------|-3-------3-------------| Note 1: Pull off 4 finger. Note 2: On TYA, bend E with 4 finger up near F and then back down to E within the same beat. Pull down on string. Note 3: On TYA, this bass note is completely de-emphasized and sounds damped. Note 4: This bass note is also de-emphasized on TYA. Note 5: On TYA, he doesn't play the bass note (D) here, so I assume he picks the B (4th fret) with the plectrum to keep the motion consistent. This would sort of blend into the next chart too, which might justify its awkwardness. This is obviously educated guessing on the right-hand technique here. Note 6: On YMP, he seems to bend the string up near F just before picking it. So the note starts high and descends toward E, which is held into the second beat. Note 7: On NNA, bend E with 4 finger up to F but do not go down again. Here reaching F with the bend is more important than on TYA and YMP since it should match the pitch of the fretted F in the surrounding measures. Note 8: On NNA, this is a straight E that is picked. Note 9: He adds an extra bar in the NNA version. Note 10: This transitional note to the D7 is definitely a B in the NNA version. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 5 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5->> TYA, CD2= 0:26 N 1 2 3 * * 4 5 6 * 7 7 7 7 7 7 ....D7..............*.................*.A7..............*....................... R ^ m v ^ m v ^ m * v ^ m v m ^ v * m m m m * m m R P s P P P P * P P P P P * P P P P * P p p P P p p P E--------(0)--------|-----------------|-----------------|----------------------| B-----7-----7-----7-|-----7-----x-7---|-----------------|-------------------0--| G-------5-----0-----|-5-----0---x-5-0-|---6---6--(6)--6-|---------6---------0--| D-5-7-----7-----7---|---7---------7---|-5-------5-5-----|-9-7(5)7--------------| A-------------------|-----------------|-----9-------7---|-----------9-7(5)7----| E-------------------|-----------------|-----------------|----------------------| 5->> YMP, CD3= 0:51 N 1 * * 8 * 7 7 7 7 7 7 ....D7..............*.................*.A7..............*....................... R ^ m v ^ m v ^ m * v ^ m v ^ m ^ v * ^ ^ v ^ v ^ v * ^ vP ^ v ^ vP ^ v R P P P P P * P P P P P P * P P P P P P P * P p p P P P p p P P E-------------------|-----------------|-----------------|----------------------| B-----7-----7-----7-|-----7-----7-----|-----------------|----------------------| G-------5-----0-----|-5-----0-----5-0-|-6-----6--(6)--6-|-----6---6-----6---0--| D---7-----7-----7---|---7-----7---7---|-5----(5)5-5-5---|-9-7-5-7--------------| A-------------------|-----------------|-----9-------7---|-----------9-7-5-7----| E-------------------|-----------------|-----------------|----------------------| 5->> NNA, CD22= 0:17 N 1 * * 4 9 * 7 7 7 7 7 7 ....D7..............*.................*.A7..............*....................... R ^ m v ^ m v ^ m * v ^ m v m ^ * m m (m) m * m m m m R P P P P P * P P P P * P P P P * P p p P P p p P E-------------------|-----------------|-----------------|----------------------| B-----7-----7-----7-|-----7-----7-7---|-----------------|-------------------0--| G-------5-----0-----|-5-----0-----5---|-6-6---6--(6)--6-|-----6---6-----6------| D---7-----7-----7---|---7---------7---|-5-------5---5---|-9-7-5-7--------------| A-------------------|-----------------|-----9---0---7---|-----------9-7-5-7----| E-------------------|-----------------|-----------------|----------------------| Note 1: Steve's right hand cross-picking technique for this D7 lick is shown above. It was verified on the YMP video. My technique is slightly different: I start with a downstroke on the D string, get the B string with the "m" finger, and then use two successive upstrokes on the G and D strings after that. This "circular upstroke" method works very well for me; it flows well. Whichever technique you choose to use, get used to it because it is used throughout the song. Note 2: On TYA, this slide from the 5th to the 7th fret is a slur that occurs over the first eighth note. Note 3: This open E is there, but I'm not sure if it was meant to be. Since it is not repeated, it seems like a mistake. The 9th of the D chord, it really doesn't sound that bad. Note 4: On YMP, he plays this A7 lick with just his pick (see note 8). I prefer to use the pick and "m" finger as shown here. Also, I've heard rumors that he played this A7 lick on TYA at the nut position. But all videos--starting with YSG of 1972--show him playing it at the 5th position as shown. Note 5: This is a bit of a stretch for the 4 finger. Hold down your 1 finger (on A and D strings, 5th fret) and 2 finger (G string, 6th fret) throughout this passage. Note 6: I think he intended this to be the C# (G string, 6th fret) again. It's hard to hear exactly what this is, but it seems to be a repeat G (5th fret). If it was a mistake, it was probably due to his pick-only technique here, which requires a jump over the D string with the pick to get the following E. Note 7: Triplet. Note 8: He seems to purposely "muddy" this A7 lick in the YMP version; it's half strumming, half picking. From the YMP video, it is clear that he does not use any right-hand fingers on this A7 lick--just the pick (as shown). The important thing to note about bar 3 is that the time reads "1 2&3&4&." Note 9: Perhaps this open A is a mistake. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 6 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6->> TYA, CD2= 0:30 N 1 * * * 2 3 ...D/A......G........*.D/F#....A/E.....*.G/D...............*.D/A................ R a a * a m a m * a m * a a m m R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-------------------|-5-----2-----------| B-------7------8-----|---7-------5-----|-----3-------------|-3-----3-------1---| G--7----7--------7---|-----7-0-----6-0-|-----4-----4(4)----|(2)--2(2)--2--(2)--| D--7-------(9)---9---|(7)--7--(7)--7---|-5---5--(5)--5-----|-------------0-----| A-----------10-------|-9-------7-------|-5-------5---------|-0-------0---------| E--------------------|-----------------|-------------------|-------------------| 6->> YMP, CD3= 0:56 N 1 * * * ...D/A......G........*.D/F#....A/E.....*.G/D...............*.D/A................ R a a * a a m * a m * a a m R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-------------------|-5-----2-----------| B-------7------8-----|---7-------5-----|-----3-------------|-3-----3---3-------| G-------7--------7---|-----7-------6-0-|-----4-----4-4-----|(2)---(2)--2(2)----| D--7-------------9---|-----7-------7---|-----5-------5-----|-----0-------0-----| A-----------10-------|-9-------7-------|-5-------5---------|-0-------0---------| E--------------------|-----------------|-------------------|-------------------| 6->> NNA, CD22= 0:22 N 1 * * 4 4 4 * 5 ...D/A......G........*.D/F#....A/E.....*.G/D...............*.D/A................ R a a * a a * a a m * a a m R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-------------------|-5-----2-----------| B-------7------8-----|---7-------5-----|-----3-----3-------|-3-----3---3-3-----| G-------7--------7---|-----7-------6---|-----4-------4-----|(2)---(2)-(2)2-----| D--7-------------9---|-----7-------7---|-----5---------5---|-----x---0---------| A-----------10-------|-9-------7-------|-5-------5---------|-0-----------------| E--------------------|-----------------|-------------------|-------------------| Note 1: Chart 6 is very similar to chart 1--except for the last D/A chord. Note 2: On TYA, this note is almost dead (x), but there seems to be some octave A pitch there. Did he want the open D? Note 3: On TYA, this passing note seems to be a C (as in a D7 chord), but I have a hard time believing this since it would be so difficult to play and very unusual. It may be an illusion, but it sounds pretty clear at 6x speed. Note 4: Triplet. The right hand technique shown is how I would play it. Note 5: This NNA bar is quite strange. The second beat is barely there and percussive. The third and fourth beats seem to shift up one string. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 7 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 7->> TYA, CD2= 0:34 N 1 * * 2 * 2 3 ...D/A......G........*.D/F#....A/E.....*.F#7.............*...................... R a a * a m a m * a m * m a ^ v ^ R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-----------------|---------------------| B-------7------8-----|---7-------5-----|-----7-----------|-------7-------------| G-(7)---7--------7---|-----7-0-----6-0-|-----9-----9-----|---9---9--(9)--------| D--7-------(9)---9---|(7)--7---7---7---|(8)--8-------8---|-----------8---------| A-----------10-------|-9-------7-------|-9---------------|-9---9-----9---------| E--------------------|-----------------|---------9-------|-------------8-------| 7->> YMP, CD3= 1:00 N 1 * * * 2 ...D/A......G........*.D/F#....A/E.....*.F#7.............*...................... R a a * a a * a m * m a ^ v ^ R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|-----------------|---------------------| B-------7------8-----|---7-------5-----|-----7-----------|-------7-------------| G-------7--------7---|-----7-------6---|-----9-----9-9---|---9-9----(9)--------| D--7-------------9---|-----7-------7---|-----8-------8---|-----8-----8---------| A-----------10-------|-9-------7-------|-9---------------|-9---------9---------| E--------------------|-----------------|---------9-------|-------------8-------| 7->> NNA, CD22= 0:26 N 1 * * 2 * 2 4 ...D/A......G........*.D/F#....A/E.....*.F#7.............*...................... R a a * a a * a m * m a ^ v ^ R P P P P * P P P P * P P P P * P P (P)P E----10--------------|-----------------|-----------------|---------------------| B-------7------8-----|---7-------5-----|-----7-----------|-------7-------------| G-------7--------7---|-----7-------6---|-----9-----9-----|---9------(9)--------| D--7-------------9---|-----7-------7---|-----8-------8---|-----8----(8)--------| A-----------10-------|-9-------7-------|-9---------------|-9--------(9)--------| E--------------------|-----------------|---------9-------|-------------8-------| Note 1: Chart 7 is a repeat of chart 2. I show it again because there are some very minor differences. Note 2: I hear no triplets here. Note 3: On TYA, I can't help wondering if this is a mistake. Was it supposed to be an A# on the D string (8th fret)? Note 4: On NNA, I hear a very soft brush here. It's barely audible. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 8 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 8->> TYA, 0:38 N 1 2 * * 2 * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7................... R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a ^ v ^ v ^ v R P P P P * P P P P P P P * P P P P * P P P P P P E------7---9-10-----|-9-----5-5-------|-----3---5-7-----|-5--(2)2--------------| B-------------------|----(5)5-5-x-4-x-|(3)--------------|(3)--3-3---3-3-x------| G-------------------|-----6-6-6-x-5-x-|-4---------------|-----2-2---2-2-x------| D-(7)-(7)------(7)--|-----5-5-5-x-4-x-|-3--(3)-----(3)--|-----4(4)--4-4-x------| A-(9)--9--------9---|-----7-----x-6-x-|-5---5-------5---|-2-----------2-x------| E--7-------7--------|-5-----------4-x-|-3-------3-------|----------------------| 8->> YMP, CD3= 1:05 N 1 * * * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7................... R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m R P P P P * P P P P P P P * P P P P * P P P P E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5-----2--------------| B-------------------|-------5-5-x-4-x-|-3---------------|-------3---3-3--------| G-------------------|-----6-6-6-x-5-x-|-4---------------|-------------2--------| D--------------(7)--|-----5-5-5-x-4-x-|-3----------(3)--|-----4-------4--------| A-(9)--9--------9---|-----7---7-x-6-x-|-5---5-------5---|-2--------------------| E--7-------7--------|-5-------5-x-4-x-|-3-------3-------|---------2------------| 8->> NNA, CD22= 0:30 N 1 2 2 * * 2 * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7................... R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m R P P P P * P P P P P P * P P P P * P P P P E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5-----2--------------| B-------------------|----(5)5----(4)--|(3)-(3)----------|(3)--------3----------| G-------------------|-----6-6-----5---|-4---------------|-------------2--------| D-----(7)-----------|-----5(5)--x-4-x-|-3---------------|-----4-------4--------| A-(9)--9--------9---|-----7-----x-6-x-|-5---5-------5---|-2--------------------| E--7-------7--------|-5---------x-4-x-|-3-------3-------|---------2------------| 8->> QPR N 3 2 * 4 5 6 * 7 * 8 ..Bm7...............*.F#m7..................*.G7..............*.Bm7............. R ^ a a a * a m a v * ^ a a a * a a a m R P P P P * P P P P P * P P P P * P P P P E------7---9-10-----|-9-------------9-------|---3-----5---7---|-5-2---2--------| B-------------------|(10)-----10---(10)---x-|-----------------|---3---3---3----| G-------------------|------------------9--x-|-4---------------|----------------| D---------------x---|------11----------11-x-|-3--(3)----------|(4)--4-------4--| A-(9)-----------9---|-9----------12-------x-|-5---5-----------|-2-----------2--| E--7---7---7--------|---------------------x-|-3-------3---3---|---------2------| Note 1: Chart 8 is a repeat of chart 3. I show it again because there are some very minor differences. Note 2: This note is played in a very percussive manner. Note 3: On QPR, the second beat stays on low B. I think this was intended. Note 4: Steve substitutes this very interesting F#m7 for A7 in chart 8 in the 1975 QPR performance. I have not heard him do it in any of the other ten versions I have. I don't know why because it sounds fantastic. I play it all the time! Note 5: This is a bit unusual; i.e., the bass line goes I-V-III-V. Pick up the A (12th fret) with your 4 finger. Note 6: This is a very quick transition for the left hand. Somewhere in here is a damped strum that sets up the G7. Experiment. Note 7: He mixes up the rhythm on this bar, which sounds pretty cool. Note 8: On QPR, the fourth beat bass note is definitely based on the B. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 9 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 9->> TYA, CD2= 0:42 N 1 * 2 3 * 2 * 2 ...G7..............*...................*.................*...................... R a a p * a ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P * P P P P P * P P P P P P * P P P P P P E------------------|-------3--(3)------|-------3---------|-------3---3-3-------| B------3-----5-3---|-5-----3---5-3-----|-5-----3-3-5-3---|-5---5-3---5-3-0-----| G-----(4)----------|(4)--4-4---4-4-----|-4-----4-4-4-4---|-4---4-4---4-4-------| D--------------x---|-----x-----x-3-----|-3---x-3---x-x---|-x---x-x---x-x-------| A-(5)--5-------5---|-------------5-----|-5----(5)--5-5---|-5----(5)------------| E--3-------3-------|-3-----------------|-----------------|---------------------| 9->> YMP, CD3= 1:10 N 1 * 4 1 * 4 1 * 4 1 ...G7..............*...................*.................*...................... R a a p * a a a p * a a a p * a a a p m R P P P P * P P P P * P P P P * P P P P E------------------|-------------------|-----------------|---------------------| B------3-----5-3---|-5===>-3---5-3-----|-5===>-3---5-3---|-5===>-3---5-3-------| G------4----(4)----|(4)----4---4-------|(4)----4---4-----|(4)----4---4---0-----| D------------------|-------------------|-----------------|---------------------| A------5-------5---|-----5-------5-----|-----5-------5---|-----5---------------| E--3-------3-------|-3-------3---------|-3-------3-------|-3-------3---3-------| 9->> NNA, CD22= 0:35 N 1 * 5 * 6 6 * 7 7 8 9 ...G7..............*...................*.................*...................... R a a p * a s a a m * a a a m a m * a(a)a(a)a m R P P P P * P P P P * P P P P * P P P P P E------------------|-------------------|---3-------------|---------------------| B------3-----5-3---|-5-6---5-3---------|-6---5---3-------|-6(6)5(5)3-----0-----| G------4----(4)----|--(4)---(4)--4-----|-------4---4-----|------------(4)------| D-------------(3)--|--------------(3)--|-------------x---|-------------3-------| A------5-------5---|---5---5-------5---|-----5-------5---|-----5-----5-5-------| E--3-------3-------|-----------3---3---|-3-------3-------|-3-------3-----------| Note 1: Pull off 4 finger. Note 2: On TYA, bend E with 4 finger up near F and then back down to E within the same beat. Pull down on string. Note 3: These strumming bars on TYA are difficult to discern. The low D is very subdued with no attack--sort of a drone. Note 4: On YMP, he seems to bend the string up near F just before picking it. So the note starts high and descends toward E, which is held into the second beat. Note 5: On NNA, instead of bending up near the F, he seems to slide up to the F in an ornamental fashion; i.e., both notes occur in the "1" beat. As shown, the E just barely precedes the bass note. Note 6: These NNA notes are definitely there, but very muted and quick, with no sustain. It's "chicken pickin." Note 7: In the fourth measure of NNA, these notes are repeats of the previous note, but they do not sound like it because of their different tones-- yet at 6x speed, the pitches are clearly the same. Are they damped with the right hand? Note 8: Since I am not showing time, I should tell you that the D bass note comes in early here on NNA ("3&" beat). I don't think it's a mistake because the pick is involved; it seems to be sort of a "strum transition." Note 9: On NNA, he quickly slides these notes down toward the nut just before playing the open B. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 10 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 10->> TYA, CD2= 0:46 N 1 2 * 3 4 * * 5 4 ..D7..............*...............*......................*...................... L 1 2 4 1 2 4 4 * 4 1 2 4 1 * 1 2 3 1 2 3 3 * 3 1 2 3 1 R ^ v ^ v ^ v * v ^ ^ v * ^ v ^ v ^ v * v ^ ^ v R P m P P m P P P * s m P P m P P * P m P P m P P P * s m P P m P P E---2-----2-------|---5-----5-x-0-|---8-------8----------|----10-------10-x----| B-----3-----3-----|-----7-----x-0-|-----10------10-------|-------12-------x-0--| G-------5-----5-5-|-9-----9---x---|--------11------11-11-|-14-------14----x-0--| D-0-----0---------|----------(0)--|-0--------------------|---------------------| A-----------------|---------------|----------------------|---------------------| E-----------------|---------------|----------------------|---------------------| 10->> YMP, CD3= 1:15 N 1 6 * 3 4 * 7 * 5 4 ..D7..............*...............*......................*...................... L 1 2 4 1 2 4 4 * 4 1 2 4 1 * 1 2 3 1 2 3 3 * 3 1 2 3 1 R ^ v ^ v ^ v * v ^ ^ v * ^ v ^ v ^ v * v ^ ^ v R P a P P a P P P * s a P P a P P * P a P P a P P P * s a P P a P P E---2-----2-------|---5-----5-----|---8-------8----------|----10-------10------| B-----3----(3)----|-----7-----x-0-|-------------10-------|-------12-------12-0-| G-------5-----5-5-|-9-----9---x---|-----11-11------11-11-|-14-------14----14-0-| D-0---------------|---------------|-0--------------------|---------------------| A-----------------|---------------|----------------------|---------------------| E-----------------|---------------|----------------------|---------------------| 10->> NNA, CD22= 0:39 N 1 2 * 3 4 * * 5 4 ..D7..............*...............*......................*...................... L 1 2 4 1 2 4 4 * 4 1 2 4 1 * 1 2 3 1 2 3 3 * 3 1 2 3 1 R ^ v ^ v ^ v * v ^ ^ v * ^ v ^ v ^ v * v ^ ^ v R P a P P a P P P * s a P P a P P * P a P P a P P P * s a P P a P P E---2-----2-------|---5-----5-----|---8-------8----------|----10-------10------| B-----3-----3-----|-----7-----x-0-|-----10------10-------|-------12-------x-0--| G-------------5-5-|-9-----9---0---|--------11------11-11-|-14-------14----x-0--| D-0-----0---------|-----------0---|-0--------------------|---------------------| A-----------------|---------------|----------------------|---------------------| E-----------------|---------------|----------------------|---------------------| Note 1: Left and right hand fingering is from video sources; this *is* how Steve does it. You'll need to carefully position your left hand at the 2nd position (easy chord) to get ready for the next chord at the 5th position (difficult). The 2 and 4 fingers remain rigid in the exact same shape as in the 2nd position, but the 1 finger sort of "hangs back" on the 5th fret as you slide up your hand. The flatpicking pattern is important here. This chart shows exactly how Steve uses his right hand, including upstrokes and downstrokes. This can be seen most clearly on the MJF video. Steve uses this same technique in chart 5. My right hand technique is different, and I think it may have some advantages over Steve's. In the first measure, I play the first "P" (open D) as a downstroke and the following four "P"s as upstrokes in a sort of circular pattern. The last "P" is a downstroke. For the second measure "P"s, it's up, up, followed by the down-up strum. The pattern repeats in the third and fourth measures. (I also use my "a" finger instead of the "m" as shown, but this is not as important.) This method works very well once you get used to it. Usually, down, up, down, up alternation (Steve's method) is best because it keeps the timing consistent. But in the first measure of TYA and NNA, Steve inadvertently (I'm sure) strikes the D string on the 2& beat with his downstroke (see note 2). That mistake would be hard to make with my circular upstroke method. Note 2: He clearly strikes the open D again on TYA and NNA. On TYA, the C on the 5th fret is also plainly there. On NNA it is not. On QPR (and YMP as shown), this "extra" open D is not there. A mistake on TYA and NNA? Note 3: Slide up from 5th to 9th fret. Don't pick the note. Note 4: Steve does a little fill strum here in which the first half is very percussive, like damped strings, and the second half is made up of an open string or two (mainly B) as the left hand quickly changes position. From video, his left hand seems to still be in the same chord position during the first half of the strum. In places where I hear no pitch, I have put an "x." In places where I hear more pitch than percussion, I have put the fret number. These little damped strum sequences are extremely quick. Note 5: Slide up from 11th to 14th fret. Don't pick the note. Don't try this on a 12-fret guitar! Note 6: On YMP, this note is not audible--must be a mistake. Note 7: Another mistake on YMP? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 11 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 11->> TYA, CD2= 0:51 N 1 * * 2 3 4 * ..G7...............*........................*.D7..............*................. R a a * a a a a L 3 1 1 2 * 2 3 1 2 3 1 2 R P P P P * P P P P P * P P P P P p P P * P h P P h P P E-----13-----12----|-13-12----13----12------|---2-0-----------|----------------| B------------------|------------------------|-------1-1-0-----|----------------| G-----12--------12-|-------12----------12-0-|-------------2-0-|-----2-----2----| D-----12--------12-|-------12----------12---|-0---------------|-3-4---3-4------| A-10---------------|-10---------------------|-----------------|-------------3--| E---------10-------|-------------10---------|-----------------|----------------| 11->> YMP, CD3= 1:20 N 1 * * 5 2 3 4 * ..G7...............*........................*.D7..............*................. * L 3 1 1 2 * 2 3 1 2 3 1 2 R a a a * a a a a * ^ v ^ v ^ v * ^ v ^ v ^ R P P P P * P P P P P * P P p P P p P P * P h P P h P P E-----13--13-12----|-13-12----13----12------|---2-0-----------|----------------| B------------------|---(12)-----------------|-------1-1-0-----|----------------| G-----12--------12-|-------12----------12-0-|-------------2-0-|-----2-----2----| D-12--12--------12-|-------12----------12---|-0---------------|-3-4---3-4------| A------------------|-10---------------------|-----------------|-------------3--| E---------10-------|-------------10---------|-----------------|----------------| 11->> NNA, CD22= 0:43 N 1 * * 2 3 4 * ..G7...............*........................*.D7..............*................. * L 3 1 1 2 * 2 3 1 2 3 1 2 R a a a * a a a a * ^ v ^ v ^ v * ^ v ^ v ^ R P P P P * P P P P P * P P p P P p P P * P h P P h P P E-----13--13-12----|-13-12----13----12------|---2-0-----------|----------------| B------------------|------------------------|-------1-1-0-----|----------------| G-----12--------12-|-------12----------12-x-|-------------2-0-|-----2-----2----| D-12--12--------12-|-------12----------12---|-0---------------|-3-4---3-4------| A-10---------------|-x----------------------|-----------------|-------------3--| E---------10-------|-------------10---------|-----------------|----------------| Note 1: This passage is extremely difficult. He's barring the 10th fret with his 1 finger, barring the 12th fret with his 3 finger, and picking up the 13th with his 4 finger. To help out his 3 finger, his 2 finger is pressed in on top of it. Actually, on the 10th fret, only the E and A strings need to be barred, and Steve takes advantage of that--his 1 finger (really all fingers) approach the neck at a rather extreme angle (from videos), and it only seems to barre those two strings; there appears to be a "relaxed curl" in the 1 finger below the A string. At the lower edge of the neck, his 1 finger crosses well back of the 9th fret, very near the eighth in fact. The 3 finger is also at an angle, but of course it must stay on the 12th. From the YSG video, his thumb appears to be behind the 8th fret, which allows one to sort of twist the hand to produce a maximum amount of leverage on the 3 finger, cranking it down on the 12th, which is what is necessary to avoid buzzes. Ouch! I am giving you all of this information because this really is one of the hardest parts of the song, and you (and I) will need all the help you can get from Steve. Also, in case you are counting, the quarter notes in this chart are separated from their following notes by two spaces instead of three. I figured it was better to cram just a bit than to create two charts of two measures each. Note 2: I'm indicating left hand fingering here again. From video sources QPR, MJF, and YMP, Steve does it like this. Yes, there are some slight hand position shifts. Note 3: By listening closely, it is pretty clear that he picks this open E on TYA, but pulls it off on YMP and NNA. You can see him pull it off (i.e., not pick it) on the YMP video. Note 4: The attack on the open G declares that the note is picked and not pulled off, which I have a temptation to do. Note 5: I went to the effort of observing Steve's right hand picking pattern for the third and fourth measures on the YMP video, which is shown here. I assume NNA is the same, but TYA must be something else. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 12 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 12->> TYA, CD2= 0:55 N 1 2 * * 3 * 3 .......G7..G.G7..G.*.G7..G.G7..G.....*.A7..............*........................ R ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P P * P P P P P P P * P P P P P P P * s P P P P P E------1-1---1-1---|-1-1---1---------|---------0-------|-----------------------| B------0-0(3)0-0-3-|-0-0-3-0---3-3-0-|-x-2-x-x-5---x-5-|----10-8---7---5-0-----| G------0-0-0-0-0-0-|-0-0-0-0---0-0-0-|-0-0---0-0-----0-|----0--0---0---0-------| D------0-0-0-0-0-0-|-0-0-0-0---0-0---|-x-2-x-2-5---x-5-|-11-11-9---7---5-------| A--2---2-2---2-2-2-|-2-2---2---2-2---|-0-------0-------|-----------------------| E------3-----3-3---|-3---------------|-----------------|-----------------------| 12->> YMP, CD3= 1:24 N 1 2 * * 4 4 4 5 3 * .......G7..G.G7..G.*.G7..G.G7....G...*.A7..............*........................ R ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P P * P P P P P P P * P P P P P P P * P P P P P P P P E------1-1---1-1---|-1-1---1---1---0-|---------0---0---|----0---0---0----------| B------0-0-3-0-0-3-|-0-0-3-0---0-3-0-|-0-2-x-5-5---0-5-|-10-x-8-0-7-0-5-0------| G------0-0-0-0-0-0-|-0-0-0-0---0-0---|-0-0---0-0-----x-|-0----0---0--(0)0------| D------0-0-0-0-0-0-|-0-0-0-0---0-0---|-x-2-x-5-5-----5-|-11---9---7---5--------| A--2---2---2---2---|-2---2-2-----2---|-0---0---0-------|-----------------------| E------3---3---3---|-3---3-------3---|-----------------|-----------------------| 12->> NNA, CD22= 0:47 N 1 2 * * 3 * 6 .......G7..G.G7..G.*.G7..G.G7..G.....*.A7..............*........................ R ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P P * P P P P P P P * P P P P P P * P P P P P P P E--------1---1-1---|-1-1---1---------|---------0-------|-----------------------| B--------0-3-0-0-3-|-0-0-3-0---3-3-3-|-0-2---5-5-----5-|-10---8-0-7-x-5-0------| G------0-0-0-0-0-0-|-0-0-0-0---0-0-0-|-0-0---0-0---0-x-|-0----0-0-0---0--------| D------0-0-0-0-0-0-|-0-0-0-0---0-0-0-|-x-2-----5---5-5-|-11---9-------5--------| A--2---2---2---2---|-2-2-2-2-----2---|---------0---0---|------0----------------| E------3-------3---|-3---3-----------|-----------------|-----------------------| Note 1: Play this B with 2 finger. It is really the last note of the last D7 lick, but time-wise it ends up in the next bar (i.e., this one) with the G7 chord. Note 2: This seemingly easy strumming passage can be confusing. He alternately pulls off and plays the D with his 4 finger. When he's playing the D, he's not playing the high F. That is, the F and D alternate. He must be damping the E string as he plays the D. I'm not sure how--the side of the 4 finger? Because these rhythms can be a bit confusing, I have written this chart in time. It can be done easily because there are no sixteenth notes here--just quarters and eighths. Three blank spaces between notes denote an eighth note's worth of time, which is either a rest or part of the preceding quarter note (or a tied eighth note). Listen. You will see that Steve is playing around with syncopation here in a very interesting way. Note 3: Quickly and audibly slide up the 2 and 3 fingers just after playing this. Somewhere near the 9th fret, pull up the 3 finger and put down the 1 finger. Note 4: On YMP, these open A notes are muted. The important thing to notice is that they are keeping a rock steady beat in the bass, which is juxtaposed against the out-of-sync higher part. This is a continuation of the same type of pattern as in the first two bars of the YMP chart. Note 5: The best way to create an in-time rest while strumming is to continue moving your hand, except raise it over the strings. I believe this is a mistake Steve made while doing this. This is the fourth beat. Note 6: Steve audibly slides down just after playing this on NNA. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 13 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 13->> TYA, CD2= 0:59 N 1 2 * 2 * 2 * 3 ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G...... R a a m * a a m * a a m * a (m) R P P P P * P P P P * P P P P * P P P P P E----10--------------|---8-8-----------|---6-6-----------|---5-5---------------| B-------7------8-8---|-----5-----6-----|-----3-----4-4---|-----2--(3)--3-0-----| G-------7--------7-0-|-----5-------5-0-|-----3-------3-0-|-----2--(2)--2-0-----| D--7-------------9---|-5-----------7---|-3-----------5---|-2-------0---0-0-----| A-----------10-------|---------8-------|---------6-------|-------------0-2-----| E--------------------|-----------------|-----------------|---------------3-----| 13->> YMP, CD3= 1:29 N 3 * 1 * * 4 ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G...... R m m * m m * m m * m m R P P P P * P P P P * P P P P * P P P P P E----10--------------|---8-8-----------|---6-6-----------|---5-5---------------| B-------7------8-----|-----5-----6-----|-----3-----4-----|-----2---3---3-0-----| G-------7--------7---|-----5-------5---|-----3-------3---|-----2--(2)--2-------| D--7-------------9---|-5-----------7---|-3-----------5---|-2-------0=====>-----| A-----------10-------|---------8-------|---------6-------|---------------------| E--------------------|-----------------|-----------------|---------------------| 13->> NNA, CD22= 0:52 N 1 * 1 * * 4 ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G...... R a a * a a * a a * a R P P P P * P P P P * P P P P * P P P P P E----10-10-----------|---8-8-----------|---6-6-----------|---5-5---------------| B-------7------8-8---|-----5-----6-----|-----3-----4-----|-----2-------3-0-----| G-------7--------7---|-----5-------5---|-----3-------3---|-----2---2---2-0-----| D--7-------------9---|-5-----------7---|-3-----------5---|-2-------0=====>-----| A-----------10-------|---------8-------|---------6-------|---------------------| E--------------------|-----------------|-----------------|---------------------| 13->> YSG N 1 * * * 5 4 ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G...... R a a * a a * a a * a m R P P P P * P P P P * P P P P P * P P P P P E----10-10-----------|---8-8-----------|---6-6-----------|---5-----------------| B-------7------8-8---|-----5-----6-6---|-----3-----4---x-|---------3---3-0-----| G-------7--------7---|-----5-------5---|-----3-------3-x-|---------2---2-0-----| D--7-------------9---|-5-----------7---|-3-----------5---|-2---2---0=====>-----| A-----------10-------|---------8-------|---------6-------|-0---0---------------| E--------------------|-----------------|-----------------|---------------------| Note 1: In this chart there seems to be double high notes in many places. (I'm only noting this first set.) The first note is picked with the finger, and the second comes as part of the strum. These are very difficult to discern since they're the same note and the second occurrence is part of a chord. Is the first note sustaining or is the note played again? I slowed these all down to 6x speed and gave it my best shot. Note 2: These open G passing notes only appear on TYA. Note 3: For the YMP chart, the right hand picking is Steve's as verified on YMP video, which has a fantastic shot here. Note 4: On all four video sources, Steve plays this D chord open with his 1 finger on the G string (A) and 2 finger on the B string (D). His 3 and 4 fingers are in the air. From the YMP video, he plays the chord with the pick and "m" finger as shown. Note 5: The YSG version has this interesting open A variation in the 4th bar. He really bangs the two open As and then the open D. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 14 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 14->> TYA, CD2= 1:03 N 1 * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#........................ R a m m m * a a m * a a m R P P P P * P P P P * P P P P E----3-------------|----13-----------------|---11------------------------------| B---(0)--0---1---0-|-------10------11------|------8------9---------------------| G------0-------x---|-------10---------10-0-|------8--------8--0----------------| D------0--(2)--2---|-10---------------12---|-8-------------10------------------| A--2-------3-------|------------13---------|----------11-----------------------| E--3---------------|-----------------------|-----------------------------------| 14->> YMP, CD3= 1:34 N 2 * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#........................ R m m * m m * m m R P P P P * P P P P * P P P P E----3-------------|----13-----------------|---11------------------------------| B----0-------1-----|-------10------11------|------8------9---------------------| G------0-------0---|-------10---------10---|------8--------8-------------------| D------0--(2)--2---|-10--------(12)---12---|-8-------------10------------------| A-(2)------3-------|------------13---------|----------11-----------------------| E--3---------------|-----------------------|-----------------------------------| 14->> NNA, CD22= 0:56 N 3 3 * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#........................ R a a m m * a m a m * a m a a R P P P P * P P P P * P P P P E----3---3---------|----13-----------------|---11------------------------------| B----3---3---1---0-|-------10-0----11------|------8-0----9----0----------------| G-----(0)------0---|-------10---------10-0-|------8--------8--0----------------| D------0-------2---|-10--------------(12)--|-8-------------10------------------| A-(2)------3-------|------------13---------|----------11-----------------------| E--3---------------|-----------------------|-----------------------------------| 14->> YSG N 1 4 5 * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#........................ R a m m * a a * a a m R P P P P P * P P P P * P P P P E----3=>-----------|----13-----------------|---11------------------------------| B--0(0)0-----1---0-|-------10------11------|------8------9----x----------------| G--0=>-0-------x---|-------10---------10---|(8)---8--------8--0----------------| D--0=>-0-0(2)--x---|-10---------------12---|-8-------------10------------------| A--2=>-----3-------|------------13---------|----------11-----------------------| E--3---------------|-----------------------|-----------------------------------| Note 1: On TYA and YSG, this bar is sort of "slurred," but it has a very definite picking pattern to it. (Some transcriptions have missed this, showing strummed chords here.) Note 2: For the YMP chart, the right hand picking is Steve's as verified on YMP video. Note 3: Here on NNA is another Clap mystery (to me anyway). I hear the high G being played with the high D. I have no video of this, but I'm guessing that Steve is somehow barring those two notes on the 3rd fret with his 4 finger using the standard open G hand position (i.e., use 2, 3, and 4 fingers). If I had to play this chord, I would add in the D by changing hand position, playing the high D with the 3 finger and the high G with the 4 finger. Somehow I don't think Steve would do this--it makes the transition to open C more difficult. Note 4: On YSG, the low B clearly seems to be played following the low G and at the same time as the high G (i.e., at the "1&" beat)--it has "attack." However, I believe he is playing the low B at the same time as the low G and that the B is just sustaining as shown. In other words, the attack is an illusion. My reasons are (1) simply because the alternative--the low B with the high G on an off beat--would be so awkward to play, (2) because I've heard other evidence of similar audio illusions, (3) when slowed down like 10 times, the strummed notes of the G chord are just discernible as shown (there is lots of distortion and echo), and (4) the low B pops out slightly before the high G, suggesting that they were not played together. How to explain the illusion? Perhaps the high B (open) is resonating with and amplifying the low B on the "1&" beat. Note 5: On YSG, this open D sure sounds like it's been played. The video does not show his right hand here so I assume it's picked. But this seems awkward. Why not a finger-picked open B as in TYA? The answer I think is that this G phrase--including perhaps the high G--is mostly being strummed with the pick. At full speed, it does sound that way. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 15 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 15->> TYA, CD2= 1:06 N * 1 2 * 3 * 4 ...D/A..............*.D7/A..............*.D...............*.D7/A................ R a a * a m a m * a m * a m a m m R P P P P * P P P P * P P P P * P P P P E------10----10-----|-8------8----------|-----------------|--------------------| B-----(7)-----------|---10-------10-----|-----3-------3---|-1-----0-------0----| G---------------x---|---------------7---|----(2)----2-2---|---2-------2-2-0----| D------7--------x---|------7--------7---|-----0-------0---|-----0-------0------| A--0----------------|-0-----------------|-0-------0-------|-0------------------| E----------0--------|----------0--------|-----------------|---------0----------| 15->> YMP, CD3= 1:38 N * 1 5 * 3 * 6 7 ...D/A..............*.D7/A..............*.D...............*.D7/A................ R a a * a m a m * a m * a a a m (m) R P P P P * P P P P P * P P P P *(P) P P P E------10----10-----|-8------8----------|-----------------|--------------------| B-------------------|---10-------10-----|-----3------(3)--|-1-1---0---0--------| G---------------7---|------7----------0-|-----2-----2-2---|-----------2-2(2)---| D--7---7--------7---|------7--------x-0-|-0---0-------0---|-----0-------0------| A--0----------------|-0--------0--------|-0-------0-------|(0)------0----------| E----------0--------|-------------------|-----------------|--------------------| 15->> NNA, CD22= 0:59 N * 1 8 * 3 * 9 ...D/A..............*.D7/A..............*.D...............*.D7/A................ R a a * a m a m m * a m * a m(a)a m R P P P P * P P P P * P P P P * P P P P E------10----10-----|-8------8----------|-----------------|----(2)-------------| B-------------------|---10-------10-----|-----3-----------|-1-----0------------| G---------------x---|------7--------7-0-|----(2)----2-2---|---2-------2-2------| D------7--------x---|------7------------|-----0-------0---|-----0-------0------| A--0----------------|-0--------0--------|-0-------0-------|-0-------0----------| E----------0--------|-------------------|-----------------|--------------------| 15->> YSG N 10 * 1 * 3 * ...D/A..............*.D7/A..............*.D.......D7/A....*..................... R a a * a m a m * a a * a m a a a R P P P P * P P P P P * P P P P * P P P P E------10----10-----|-8------8----------|-----------------|--------------------| B-------------------|---10-------10-----|-----3-----1-----|-1-----0---0---0----| G------7--------7---|---------------7-0-|-----2-------2---|---2-----2---2------| D-(7)-(7)-------7---|(7)--(7)-(7)---7-0-|-0---0---x---0---|(0)------0---0------| A--0-------0--------|-0----0---0--------|-0-------x-------|-0---0--------------| E----------0--------|-------------------|-----------------|--------------------| Note 1: Keep the barre and play the 8th fret with 2 finger and 10th fret with 4 finger. On YSG video, it is clear that Steve fingers the 10th fret just long enough to play the note; he does not hold his 4 finger down as I have tendency to do. I doubt that he's worried about damping the high E string because it's easy to avoid this. He must not want the A note to sustain. Note 2: Hold and slide this A down the neck after the following bass note. Note 3: Use 2 finger on 2nd fret and 3 finger on 3rd fret. Note 4: On TYA, Steve seems to give this C note a slight bend. Note 5: On YMP, I'm guessing this is a backstroke with the pick. Note 6: On YMP, this C note seems to get double picked. It may be a mistake, but I hesitate to say so because it happens again in chart 16. Note 7: On YMP, the open B is definitely there (again). Note 8: On NNA, hold and slide this D down before picking the open G. Also, the A in the bass (7th fret) is definitely not there. Note 9: On NNA, I hear a very very faint high F#. It may be a quick hammer on from open E, or it may be some kind of strange F# overtone. NNA is a fairly poor recording so it's tough to tell. This note sounds pretty cool regardless. Note 10: If you've ever seen the YSG version, you know that Steve is just pounding his guitar. This comes out as frequent double-string strikes with the pick. In a sense it's sloppy playing, but there are no sour notes possible, and the effect is great. It's supercharged sound, full of life and soul. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 16 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 16->> TYA, 1:11 N 1 * 2 * * 3 4 ....D/A..............*.D7/A..............*.D...............*.D7/A............... R a a * a m a m * a m * a m a m R P s P P P * P P P P * P P P P * P P P P E-------10----10-----|-8------8----------|-----------------|-------------------| B------(7)-----------|---10---7---10-----|-----3-------3---|-1-----0-----------| G----------------x---|-------------------|----(2)----2-2---|---2-------2-------| D-2-7---7--------x---|------7--------7---|-----0-------0---|-----0-------0-----| A--------------------|-0--------0--------|-0-------0-------|-0-------0---------| E-----------0--------|-------------------|-----------------|-------------------| 16->> YMP, CD3= 1:42 N * * * 4 ....D/A..............*.D7/A..............*.D...............*.D7/A............... R a a * a m a m * a m * a a a m R P P P P * P P P P P * P P P P *(P) P P P E-------10----10-----|-8------8----------|-----------------|-------------------| B--------------------|---10-------10-----|-----3-----------|-1-1---0-----------| G----------------7---|---------------7-0-|-----2-----2-2---|-----------2-2-----| D-------7--------7---|------7--------7-0-|-0---0-------0---|-----0-------0-----| A---0----------------|-0--------0--------|-0-------0-------|(0)------0---------| E-----------0--------|-------------------|-----------------|-------------------| 16->> NNA, CD22= 1:03 N * 2 * * 4 ....D/A..............*.D7/A..............*.D...............*.D7/A............... R a a * a m a m * a m * a m a m R P P P P * P P P P P * P P P P * P P P P E-------10----10-----|-8------8----------|-----------------|-------------------| B--------------------|---10-------10-----|-----3-------3---|-1-----0-----------| G----------------7---|-----------------0-|-----2-----2-2---|---2-------2-2-----| D-------7--------7---|------7--------x---|-----0-------0---|-------------0-----| A---0----------------|-0--------0--------|-0-------0-------|-0---0---0---------| E-----------0--------|-------------------|-----------------|-------------------| 16->> YSG N * 5 5 * 6 * 4 ....D/A..............*.D7/A..............*.D.......D7/A....*.................... R a a * a m a m * a a * a m a m R P P P P * P P P P P * P P P P * P P P P E-------10----10-----|-7------7----------|-----------------|-------------------| B--------------------|---10-------10-----|-----3-----1-----|-1-----0-----------| G-------7--------7---|-----------------0-|-----2-------2---|---2-------2-------| D-------7--------7---|(7)--(7)-(7)--(7)--|-0---0--(0)--0---|(0)----------0-----| A---0----------------|-0----0---0----0---|-0---0---0-------|-0---0---0---0-----| E-----------0--------|-------------------|-----------------|-------------------| Note 1: On TYA, slide up from 2nd to 7th fret over the first beat. Note 2: Hold and slide this A down the neck after the following bass note. Note 3: On TYA, Steve seems to give this C note a slight bend. Note 4: From YMP video, Steve seems to double-pick this note and the preceding C with his "m" finger. I find it easier to use "a" and then "m." Note 5: On the 16th chart of YSG only, he plays a B instead of the usual C. You'll notice that he always plays both the B and C at the nut-position version of this phrase (i.e., the 4th bar of charts 15 and 16), but this is the only time he plays any B at the 7th position. This is also clearly visible on the YSG video (both chart 15 and 16 are shown in close up). Note 6: On YSG, this tab looks like a strum, but play it "sloppy" with both pick and "a" (or "m") finger. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 17 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 17->> TYA, CD2= 1:14 N * 1 * 2 3 * 4 5 ...................*.................*.................*........................ * L 3 3 1 2 2 3 2 * 1 2 2 2 R a m a m * a(m) a m * ^ v ^ v ^ * v ^ v ^ v ^ v R P P P P * P P P P P * P s P P s P P p * P P h P P P P P E------------------|-----------------|-----------------|-----------------------| B--1-----0---------|-1-----0---------|-----------------|-----------------------| G----2-------2-----|--(2)------2-2-0-|-5-4-2-----------|-----------0-----------| D------0-------0---|-----0-------0---|-------3-2-0-----|-----------0---0-------| A--0-------0-------|-0-------0-------|-------------3-2-|-0-----0-2---2---------| E------------------|-----------------|-----------------|---1-2-----------------| 17->> YMP, CD3= 1:47 N * 6 * 2 3 * 4 5 ...................*.................*.................*........................ * L 3 3 1 2 2 3 2 * 1 2 2 2 R a m a m * a m a m * ^ v ^ v ^ * v ^ v ^ v ^ v R P P P P * P P P * P s P P s P P p * P P h P h P P P E------------------|-----------------|-----------------|-----------------------| B--1-----0---------|-1-----0---------|-----------------|-----------------------| G----2--(2)--2-2---|---2---2---2-2---|-5-4-2-----------|-----------------------| D------0-------0---|-----0-------0---|-------3-2-0-----|-----------0---0-------| A--0-------0-------|-0---------------|-------------3-2-|-0-----0-2---2---------| E------------------|-----------------|-----------------|---1-2-----------------| 17->> NNA, CD22= 1:08 N 7 * 8 1 * 2 3 * 4 5 ...................*.................*.................*........................ * L 3 3 1 2 2 3 2 * 1 2 2 2 R a m a * a m a * ^ v ^ v ^ * v ^ v ^ v ^ v R P P P P * P P P P P * P s P P s P P p * P P h P h P P P E--------2---------|-----------------|-----------------|-----------------------| B--1-----0---------|-1-1---0---------|-----------------|-----------------------| G----2--------(2)--|-----------------|-5-4-2-----------|-----------------------| D------0-------0---|-----0-----0-----|-------3-2-0-----|-----------0---0-------| A--0-------0-------|-0-------0---0---|-------------3-2-|-0-----0-2---2---------| E------------------|-----------------|-----------------|---1-2-----------------| 17->> YSG N * * 2 3 * 4 5 ...................*.................*.................*........................ * L 3 3 1 2 2 3 2 * 1 2 2 2 R a m a m * a m a m m * ^ v ^ v ^ * v ^ v ^ v ^ v R P P P P * P P P P * P s P P s P P p * P P h P P P P P E------------------|-----------------|-----------------|-----------------------| B--1-----0---------|-1-----0-------0-|-----------------|-----------------------| G----2-------2-----|---2-------2-2---|-5-4-2-----------|-----------------------| D--------------0---|-------------0---|-------3-2-0-----|-----------0---0-------| A--0---0---0---0---|-0---0---0-------|-------------3-2-|-0-----0-2---2---------| E------------------|-----------------|-----------------|---1-2-----------------| Note 1: Play this interval with emphasis. Note 2: The right and left hand techniques shown for this lick are Steve's as verified on the QPR and YMP videos (except as noted). Note 3: Pull off instead of slide this time. On QPR video, Steve clearly does this. On the YSG audio, you can clearly hear the different sound the pull- off produces compared to the previous two slides. Note 4: Hammer on the F#. Also, on QPR video Steve uses his 2 and 3 fingers to play the F and F#. I can't understand why--to me it's more natural and easier with the 1 and 2 fingers. My left hand fingering is shown. Note 5: On the early versions (TYA and YSG), Steve seems to have picked this note. (On TYA, you can hear the "click" of the pick hitting the string.) On the later versions--including QPR which is not shown--it seems to be a hammer-on since there is no attack. The QPR and YMP videos verify this. The two upstrokes surrounding the hammer-on may seem awkward, but that is how Steve plays it and they do fit time-wise. Note 6: On YMP, this bass note is just not there. The previous B note sustains through this beat, but that's always true in this passage, even when there is a bass note. A mistake? Note 7: On NNA, this F# is interesting for two reasons: (1) just because it's there at all and (2) at 6x speed you can actually hear a slight delay between the F# and the open B as he drags his finger over the two strings. Note 8: On NNA, this open D does not occur as the 4th beat. Here it is the "3&" beat. The following open A lands on the 4th beat. Also, I'm guessing that he used the pick to play the D, which would sort of give him a jump start on the following lick. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 18 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 18->> TYA, CD2= 1:19 N 1 2 3 3 3 * 3 3 3 3 3 3 4 * 5 * ......................*.....................*.G...G7..G.G7..G.*.G7G...G7....G... L 2 3 1 3 1 4 3 1 3 1 * 4 3 1 3 1 4 3 1 3 * * R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P h P P P P p P P P * P p P P P P p P P P * P P P P P P P * P P P P P P P E---------------------|---------x-8-7-5-5---|-----1-1---1-----|-1-----1--(1)---| B-------------------3-|-6-5-3--------(0)7-0-|-----0-0-3-0-0-3-|-0-3-3-0---0-3--| G-----2-4-2-5-4-2-----|-------5---------0-0-|-0---0-0---0-0-0-|-0-0-0-0---0-0-0| D-3-4-------------4---|-------------------0-|-0---0-0---0-0-0-|-0---0-0---0-0-0| A---------------------|---------------------|-2---2-----2-----|-2---2-2---2-2--| E---------------------|---------------------|-3---3-----------|-3--------------| 18->> YMP, CD3= 1:52 N 1 2 3 3 6 * 3 3 3 3 3 3 * 5 * ......................*.....................*.G...G7..G.G7..G.*.G7..G.G7..G..... L 2 3 1 3 1 4 3 1 3 1 * 4 3 1 3 1 4 3 1 3 * * R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P h P P P P p p P P * P p P P P P p P P P * P P P P P P P * P P P P P P P P E---------------------|---------5-8-7-5-----|-----1-1---1-1---|-1-1---1-1-----0| B-------------------3-|-6-5-3(3)--------7---|-----0-0-3-0-0-3-|-0-0-3-0-0-3-3-3| G-----2-4-2-5-4-2-----|-------5-----------0-|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0--| D-3-4-------------4---|-------------------0-|-0---0---0-0-0-0-|-0-0-0-0-0---0--| A---------------------|-------------------2-|-2---2---2-------|-2---2----------| E---------------------|-------------------3-|-3---3---3-------|-3---3----------| 18->> NNA, CD22= 1:12 N 1 2 3 3 6 * 3 3 3 3 3 3 * 5 * ......................*.....................*.G...G7..G...G7G.*.G7..G.G7....G... L 2 3 1 3 1 4 3 1 3 1 * 4 3 1 3 1 4 3 1 3 R * R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P h P P P P p p P P * P p P P P P p P P P * P P P P P P * P P P P P P E---------------------|---------5-8-7-5(5)--|-----1-1-----1---|-1-1---1---1----| B-------------------3-|-6-5-3-----------7---|-----0-0-3---0-3-|-0-0-3-0---0-3--| G-----2-4-2-5-4-2-----|-------5-----------0-|-0---0-0-0---0-0-|-0-0-0-0---0-0--| D-3-4-------------4---|-------------------0-|-0---0-0-0---0-0-|-0-0-0-0---0-0--| A---------------------|---------------------|-2---2-------2---|-2---2-------2--| E---------------------|---------------------|-3---3------(3)--|-3---3-------3--| Note 1: This combination of the picked C and the hammered C# is a slur that occupies the same amount of time (eighth note) as the C# would if played alone. The C is an ornamental note that just precedes the "main" C# in a minimal amount of time. It really isn't quite a triplet (as some scores show). Note 2: From QPR video, Steve clearly hammers on here with 3 finger. Note 3: Triplet. Note 4: On TYA, the open G is there, but I doubt it was intended. It's a bit of a sour note next to the main F#. (The F# on the 7th fret is of course the note that should be played by the 3 finger according to my left hand notation.) Note 5: See note 2 of chart 12. Note 6: On YMP and NNA, the last note in only the first triplet has no attack and thus seems to be a pull-off. On the YMP video, his right hand picking technique looks the same for all three triplets, but the G string does not seem to move here. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 19 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 19->> TYA, CD2= 1:23 N 1 2 3 * 4 * * ...D#°.....F#°.....*.........D°..D7..*.G...G7..G.G7..G.*.G7..G.G7..G............ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P * P P P P P P P * P P P P P P P P E----2-----5-----7-|---7-8---4---2---|-----1-1---1-1---|-1-1---1-1-----0-------| B----1---0-4-----5-|---5-x---3---1---|-----0-0-3-0-0-3-|-0-0-3-0-0-3-3-0-------| G--2-2-2-x-5-----7-|-----7---4---2---|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0---------| D--1-1-1---4----(7)|----(7)--0-------|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0---------| A--0-------0----(0)|-----------------|-2---2-2-2-2-2-2-|-2-2-2-2-2---2---------| E------------------|-----------------|-3---3---3-3-3-3-|-3-----3-----3---------| 19->> YMP, CD3= 1:57 N * 5 * * .....D7............*.................*.G...G7..G.G7..G.*.G7..G.G7....G.......... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P P * P P P P P P P P * P P P P P P P * P P P P P P P E----2-----5-----7-|-7-7-8---5-x-2---|-----1-1---1-1---|-1-1---1-1-1-----------| B--x-1-x-0-3---x-5-|-5-5-x-x-3-x-1-x-|-----0-0-3-0-0-3-|-0-0-3-0-0-0-3---------| G--x-2-x-x(5)--x(7)|-7---7-x(5)x-2-0-|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0---------| D------------------|--------(0)-(0)0-|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0---------| A------------------|--------(0)------|-2---2---2---2---|-2-2-2-2-2-2-2---------| E------------------|-----------------|-3---3---3---3---|-3---3-3-3-3-3---------| 19->> NNA, CD22= 1:16 N * * * .....D7............*.................*.G...G7..G.G7..G.*.G7..G.G7....G.......... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P * P P P P P P P * P P P P P P P * P P P P P P P E----2-----5-----7-|---7-8---5---2---|-----1-1---1-1---|-1-1---1---1---0-------| B----1---0-3-----5-|---5-5-x-3-x-1-0-|-----0-0-3-0-0-3-|-0-0-3-0---0-3-0-------| G--2-----x-5-----7-|---7-7-x-5-x-2-0-|-0---0-0-0-0-0-0-|-0-0-0-0---0-0-0-------| D----------0-------|-----0---0---0-0-|-0---0-0-0-0-0-0-|-0-0-0-0---0-0---------| A------------------|-----------------|-2---2---2-2-2---|-2-2-2-2---2-2---------| E------------------|-----------------|-3---3---3-3-----|-3-3-3-3---3-3---------| Note 1: On TYA, this part seems to have been still evolving in Steve's mind. This is no mistake. He is playing diminished chords. The first bar contains D# and then you hear no D until the last part of the second bar. I know this is strange, but that's what he played! If you play it slow it sounds terrible, but if you play it fast, it sort of works. There is more syncopation here, so this chart is also shown in exact time (three spaces is an eighth's worth of time). Note 2: This is strange too. I think he plays the open A with the F#° chord. But the A jumps out--with full attack--after the chord. My guess is that this "attack" is an illusion caused by the combination of sustain on the open A when the chord fingering is lifted and the analog recording dynamics. The chord is gone, and so the A sounds louder. The A is audible during the chord (before the "attack"). But it could be left over from the first chord. Note 3: I hate parentheses as much as anyone. But these are very important because if he's playing the A on the 7th fret of the D string, it affects how the chord is fingered. Unfortunately, I can't say for sure after listening many times at 6x speed. Here's what I hear: The open A, which is still ringing from before, seems to get a slight boost in volume. For me, it's always nearly impossible to distinguish a higher adjacent octave in a chord. But there is definitely no D, and see note 4. Note 4: The open A is gone, and there is still no D. I can hear a very soft A octave, which would have to be on the 7th fret. This is what makes me think he's fingering the 7th here and at note 3. But it might be some kind of crazy overtone! *If* he is playing the A on the 7th, he changed this fingering by the time YSG was recorded two years later--but he definitely changed the diminished chords so maybe he changed this chord too. Note that the fingering for this hypothetical chord flows quite easily from the diminished chord fingering--slide 3 and 4 fingers up, move 1 and 2 fingers. Another Clap mystery. Note 5: On YMP, the C on the 5th fret is just barely audible. Instead, I hear a lot of "middle" A (2nd fret on G string). From video, this is impossible because his 2 finger is clearly on the C. I don't really hear the low (open) A, but you can see the string vibrate on video. So the effect must be that the open A is producing an octave tone that sounds identical to the middle A of the following D7 chord! Very strange indeed. If not for the video copy of YMP, I would be totally lost here! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 20 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 20->> TYA, CD2= 1:28 N 1 2 3 * * 4 * ...A...A7..........*.................*.................*........................ R ^ m ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P s P P P s * P P P P P P s * P s P * E----0-------------|(0)--------------|----(0)----------|---7---7---7-----------| B--1-2-2-----2-2---|-3=>---5---5-7-5-|-7-5-5---5-5-5-5-|-5-5-5-5-5-5-5---------| G--1-2(0)----x-x---|-0=>---0---0-0---|-0---0---0-0-0-0-|-0-0-0-0-0-0-0---------| D--1-2-2-----2-2-4-|-4=>-x-5-5---7-5-|-7-5-5---5-5-5-5-|-5-5-5-5-5-5-5---------| A--0---0-----------|----(0)----------|-----------------|-0-----------0-0-------| E------------------|-----------------|-----------------|-----------------------| 20a->> YMP, CD3= 2:02 N * 5 * * * ...A7..............*.............*.............*.............*.................. R ^ ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v R P s P P P P * P s P P s * P s P P s P * P s P P s P * P s P P s E------0-----0-----|-----0-------|-----0-----0-|-----0-----0-|-----0-----0-----| B--1-2-2-----2-2-x-|-1-2-2-1-2---|-1-2-2-1-2(2)|-1-2-2-1-2---|-1-2-2-1-2-2-----| G--x---0-----0-0-0-|-0---0-0-----|-0---0-0--(0)|-0---0-0-----|-0---0-0---------| D--1-2-2-------2---|-1-2-2-1-2---|-1-2---1-2---|-1-2-2-------|-1-2-2(1)--------| A--0---------------|-------------|-------------|-0---0-------|-0---------------| E------------------|-------------|-------------|-------------|-----------------| 20b->> YMP, CD3= 2:06 N 5 * * ...A7..........*.............*.................................................. R ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v R P P P P P P * P P P P P P * P P P P P P E--3-x---2---x-|-3-0---2---x-|-3-0---2---x-------------------------------------| B--2-x-x-2-x-x-|-2-2-x-2-x-x-|-2-2-x-2-x-x-------------------------------------| G--0-x-x-0-x-x-|-0-x-x-0-x-x-|-0-x-x-0-x-x-------------------------------------| D-(2)--2--(2)--|-2---2---x---|-2---x---x---------------------------------------| A--------------|-------------|-------------------------------------------------| E--------------|-------------|-------------------------------------------------| 20c->> YMP, CD3= 2:09 N 5 * * ...A7..........*.............*.................................................. R ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v R P P P P P P * P P P P P * P P P P P P E--3-0---2---x-|-3-0---2---0-|-3(0)--2---0-------------------------------------| B--2-2-x-2-x-x-|-2-2-x-2---2-|-2-x-x-2-x-2-------------------------------------| G--0-0-x-0-x-x-|-0-x-x-0-----|-0---x-0-x---------------------------------------| D--2---x---x---|-2---x-------|-2---2---2---------------------------------------| A--------------|-------------|----(0)-(0)--------------------------------------| E--------------|-------------|-------------------------------------------------| 20d->> YMP, CD3= 2:12 N * * 6 * ...A7..............*.................*.................*........................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ * v ^ ^ v ^ v R P s P P P s * P P P P P P P * P P m P P * m P P m P P P E------------0---0-|-----------0---0-|-x---0-----7-----|-7-----7---7-----------| B--1-2-2-----2-2-2-|-3=>-0-5---5-7=>-|-7(0)5-------5---|---5-------5---x-------| G--0---0-------0-0-|-0=>-0-0--(0)x---|-0---0---------0-|-----0-------0---------| D--1-2-2-------2---|-4=>-x-5-x---7=>-|-7---5-----------|-------------5---------| A--0---0-----------|-----------------|-----------------|-------------0---------| E------------------|-----------------|-----------------|-----------------------| 20->> NNA, CD22= 1:20 N * * 7 8 * ...A7..............*.................*.................*........................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ * R P P P P P P P * P P P P P P P * P P t t * t t t t t E------------0-----|-------0---0---0-|-0---0---!---!---|-!---!-!---!-!---------| B--2---2-0-2-2---0-|-3=>-0-5---7-7-7-|-7---5---t---s---|-t---s-t---t-t---------| G--0---0--(0)--0-0-|-0=>-0-0---0-0-0-|-0---0---o---i---|-o---i-o---o-o---------| D--2---2-------2---|-4=>-x-5-----7---|-7---5---p---d---|-p---d-p---p-p---------| A--0---0-----------|-----------------|---------!---e---|-!---e-!---!-!---------| E------------------|-----------------|---------!---!---|-!---!-!---!-!---------| 20->> QPR N * 9 * * 9 ...A7..............*.................*.A7..............*........................ R ^ v ^ v ^ v ^ v * * ^ v ^ v ^ v ^ v * R P P P P P * t t t t t * P P P P * t t t t t E-----(0)----0-0-0-|-!-!---!---!-!---|-----------0-0---|-!-!---!---!-!---------| B--1---2-----2-2---|-t-s---t---t-t---|-2---2-----2-2---|-t-s---t---t-t---------| G--0---0-------0---|-o-i---o---o-o---|-0---0-----0-0---|-o-i---o---o-o---------| D--1---2-----------|-p-d---p---p-p---|-2---2-------2---|-p-d---p---p-p---------| A--0---0-----------|-!-e---!---!-!---|-0---0-----------|-!-e---!---!-!---------| E------------------|-!-!---!---!-!---|-----------------|-!-!---!---!-!---------| Note 1: On TYA, he starts out playing an A major chord. You can hear the G# slide up to A. I'm not sure about the left hand fingering here. He may play a barre on the 1st fret, slide it to the 2nd, and then quickly transition to the A7 position (this is a bit awkward). Or he may finger it 2, 1, 3 (left hand) on D, G, and B strings. I think this is it because of note 3. Note 2: On TYA, I hear this high E just after the strum and during the slide. I'm not sure of this (it may be another analog trick as in chart 19), but this technique--strum on downstroke, play high end only with finger on upstroke--is very easy and sounds quite good. Of course, he may be using the pick instead of fingers for the upstroke. Note 3: The middle A seems to be pulled off to open G, which then quickly gets damped. This is very faint, but audible at 6x speed. It is important because it gives clues about his left hand fingering throughout this bar. If it's a pull-off, he makes the transition from A to A7 here, and the previous A chord must have been fingered 2, 1, 3 on the D, G, and B strings. Note 4: He may be doubling the high E of the 5th fret (B string) with the open E. It's hard to tell. Similarly, there is G played here and on the following 10 strums, but whether he plays both the G of the 5th fret (D string) and open G or just open G alone is hard to tell. My best guess is shown. Note 5: On YMP, all but the first measure in chart 20a and all of charts 20b and 20c are in 6/8 time. The 6/8 stuff in 20a is easier to play if you remember the right-hand pattern of down-slide-down, up-slide-up. It's a bit awkward at first. This is what Steve does from YMP video. Note 6: On YMP, this right-hand picking sequence is from video. The basic pattern is "m," up, down. Note 7: Steve frequently taps percussion on his guitar in this part of the song. I am indicating tapping with a "t," and it's on either the guitar's top or side, which I've indicated on the chart itself. If it's the top, Steve uses his right-hand finger tips on the pick guard. (If you have nails like me, you may want to use your knuckles instead to reduce the sharp attack.) If it's the side, Steve brings his left hand in and taps the side with his finger tips just below the neck. This observation is from QPR video. The top gives a lower pitch tap, and the side gives a higher pitch tap. I've noticed that he'll always end up tapping the top so that he has time to move his left hand back to the neck. I've also noticed that kids love this! Note 8: On NNA, the tap timing in terms of beats is 3, 4; 1, 2, 2&, 3&, 4. Note 9: On QPR, the tap timing in terms of beats is 1, 1&, 2&, 3&, 4. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 21 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 21->> TYA, CD2= 1:32 N 1 * 2 ...A7..............*............................................................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P s P P P P P * P P P P PsP P E------0---x-0---0-|-----------------------------------------------------------| B--1-2-2-----2-2-2-|-3---x-5-----10-10-----------------------------------------| G--0---0-----0-0-0-|-0---x-0-0-0-0--0------------------------------------------| D--1-2-2------(2)--|-4---x-5-5-5-11-11-----------------------------------------| A--0---0-----------|---------0---0---------------------------------------------| E------------------|-----------------------------------------------------------| 21->> QPR N 1 * ...A7..............*............................................................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P P P P P E----------0-0-0---|----------------0------------------------------------------| B--2---2---2-2-2-0-|-3-x---5-x-5-10-10-----------------------------------------| G--0---0---0---0-0-|-0-x-x-0-0-0-0--0------------------------------------------| D--2---2-------2---|-4---x---x-5-11--------------------------------------------| A--0---0-----------|-----------------------------------------------------------| E------------------|-----------------------------------------------------------| Note 1: Charts 21 through 30 contain two measures instead of four. This is simply because there is so much playing up on the neck (2-digit frets) that four measures won't fit. Three would, but then the symmetry would be lost. Note 2: Slide up just after playing, within the eighth note. Keep your 2 finger on the D string all the way. You can hear the slide on TYA. On the B string you need to change fingers half way through, so the slide gets lost. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 22 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 22->> TYA, CD2= 1:35 N * .......................................................*........................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P * P P P P P P P P E---------------------------------------10-----10---10-|-10-10-10-10-10-10-----| B----------------------------------10---8------8----8--|-8--8--8--8--8--8----2-| G----------------------------------0----0------0----0--|-0--0--0--0--0--0--0-0-| D----------------------------------11---9------9----9--|-9--9--9--9--9--9--2-2-| A---------------------------------(0)------------------|-------------------0---| E------------------------------------------------------|-----------------------| 22->> QPR N 1 2 * 3 .......................................................*........................ R ^ v ^ * R P P t t t * t t t t t t E-------------------------------------0--------!-!---!-|---!-!-!-!-!-!---------| B-------------------------------------10---8---t-s---t-|---t-t-s-t-t-t---------| G-------------------------------------0----0---o-i---o-|---o-o-i-o-o-o---------| D-------------------------------------11---9---p-d---p-|---p-p-d-p-p-p---------| A----------------------------------------------!-e---!-|---!-!-e-!-!-!---------| E----------------------------------------------!-!---!-|---!-!-!-!-!-!---------| Note 1: There seems to be a faint high D here (like TYA), but the QPR video clearly shows that his 4 finger is in the air. Note 2: On QPR, the tap timing in terms of beats is 3, 3&, 4&, 1&, 2, 2&, 3, 3&, 4. Note that this rhythm parallels and adds to the ones in chart 20. Note 3: There almost seems to be a slight dotted feel in the second measure, but it is essentially eighth notes starting on the 1& beat. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 23 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 23->> TYA?, CD2= 1:37 N * ...A7..............*............................................................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P * P P P P P s P P E------------------|-------------0--0------------------------------------------| B------2-----2-2-0-|-3-3-x-5-5-5-14-14-----------------------------------------| G--0---0-----0-0-0-|-0-0-x-0-0---0--0------------------------------------------| D--0---2-----2-2-2-|-4-4-x-5-5-5-14-14-----------------------------------------| A--0---------------|-----------------------------------------------------------| E------------------|-----------------------------------------------------------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 24 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 24->> TYA?, CD2= 1:39 N * ...A7....................*...................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P P P P P E--0----0----0--0--0--0--|-0--0--0--0--0--x------------------------------------| B--14---12---12-12-12-12-|-12-12-12-12-12-x-10-10------------------------------| G--0----0----0--0--0--0--|-0--0--0--0--0--x-0--0-------------------------------| D--14---12---12-12-12-12-|-12-12-12-12-12---11-11------------------------------| A------------------------|-----------------------------------------------------| E------------------------|-----------------------------------------------------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 25 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 25->> TYA?, CD2= 1:41 N * ......................*......................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P P s P P E--0----10-----10-----|-10-10-10-10-10-----------------------------------------| B--10---8------8--x---|-8--8--8--8--8--8-14-14---------------------------------| G--0----0----0-0--x-0-|-0--0--0--0--0-------0----------------------------------| D--11---9------9------|-9--9--9--9--9--9-14-14---------------------------------| A---------------------|--------------------------------------------------------| E---------------------|--------------------------------------------------------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 26 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 26->> TYA?, CD2= 1:44 N * .........................*...................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P P P P P E-------0----0--0--0--0--|-0--0--0--0--0--0------------------------------------| B--14---12---12-12-12-12-|-12-12-12-12-12-12-10-10-----------------------------| G--0----0----0--0--0--0--|-0--0--0--0--0--0--0--0------------------------------| D--14---12---12-12-12-12-|-12-12-12-12-12-12-11-11-----------------------------| A-------0----------------|-----------------------------------------------------| E------------------------|-----------------------------------------------------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 27 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 27->> TYA?, CD2= 1:46 N * ........................*....................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P s P P P P * P P P P P s P P E--0----10-----10-10-10-|-10-10-10-10-10---------------------------------------| B--10-8-8------8--8--8--|-8--8--8--8--8--8-14-14-------------------------------| G--0----0------0--0--0--|-0--0--0--0--0----0--0--------------------------------| D--11-9-9------9--9--9--|-9--9--9--9--9--9-14-14-------------------------------| A-----------------------|------------------------------------------------------| E-----------------------|------------------------------------------------------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 28 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 28->> TYA?, CD2= 1:48 N 1 * 1 .........................*...................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P s P E--------0----14---------|----------10-----------------------------------------| B--14-12-12---12---10-10-|-10-8-8---8----8-14----------------------------------| G--0--0--0----0----0--0--|-0--0-0---0------0-----------------------------------| D--14-12-12---12---11-11-|-11-9-9---9----9-14----------------------------------| A------------------------|------0----------------------------------------------| E------------------------|-----------------------------------------------------| Note 1: Heavy accent on this chord. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 29 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 29->> TYA?, CD2= 1:50 N 1 * 1 .........................*...................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P s P E--------0----14---------|----------10-----------------------------------------| B--14-12-12---12---10-10-|-10-8-8---8----8-14----------------------------------| G--0--0--0----0----0--0--|-0--0-0---0------0-----------------------------------| D--14-12-12---12---11-11-|-11-9-9---9----9-14----------------------------------| A------------------------|-----------------------------------------------------| E------------------------|-----------------------------------------------------| Note 1: Heavy accent. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 30 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 30->> TYA?, CD2= 1:53 N 1 * 1 .........................*...................................................... R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P P P E--------0----14---------|---------10---0-0------------------------------------| B--14-12-12---12---10-10-|-x-8-8---8----7-7------------------------------------| G--0--0--0----0----0--0--|-x-0-0---0----0-0------------------------------------| D--14-12-12---12---11-11-|-x-9-9---9----7-7------------------------------------| A------------------------|-----------------------------------------------------| E------------------------|-----------------------------------------------------| Note 1: Heavy accent. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 31 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 31->> TYA?, CD2= 1:55 N * * * ...................*.................*.....D(add4).....*........................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P P * P P P P P P P * P P P P P P * P P P P P P P E--x-0-0---7-7-7-7-|-7---7-7-7-7-7-7-|-7---5---5-5-5-5-|-5---5-5-5-5-5-5-------| B--x-5-5---5-5-5-5-|-5---5-5-5-5-5-5-|-5---3---3-3-3-3-|-3---3-3-3-3-3-3-------| G--x-0-0---0-0-0-0-|-0---0-0-0-0-0-0-|-0---0---0-0-0-0-|-0---0-0-0-0-0-0-------| D--x-5-5---5-5-5-5-|-5---5-5-5-5-5-5-|-5---4---4-4-4-4-|-4---4-4-4-4-4-4-------| A------------------|-4---4-4---------|-----------------|-5---5-5-5-5-5-5-------| E------------------|-----------------|-----------------|-----------------------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 32 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 32->> TYA?, CD2= 2:00 N * * * .......C...........*.................*.E7/G#...........*........................ R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v R P P P P P P * P P P P P P P * P P P P P P * P P P P P P P P E--5---3---3-3-3-3-|-3---3-3-3-3-3-3-|-0---0-0-0-0-0---|-0-0-0-0-0-0-0-0-------| B--3---1---1-1-1-1-|-1---1-1-1-1-1-1-|-0---0-0-0-0-0---|-0-0-0-0-0-0-0-0-------| G--0---0---0-0-0-0-|-0---0-0-0-0-0-0-|-1---1-1-1-1-1---|-1-1-1-1-1-1-1-1-------| D--4---2---2-2-2-2-|-2---2-2-2-2-2-2-|-0---0-0-0-0-0---|-0-0-0-0-0-0-0-0-------| A--5---3---3-3-3-3-|-3---3-3-3-3-3-3-|-2---2-2-2-2-2---|-2-2-2-2-2-2-2-2-------| E------------------|-----------------|-4---4-4-4-4-4---|-4-4-4-4-4-4-4-4-------| ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 33 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 33->> TYA?, CD2= 2:04 N 1 * 2 3 * 4 ...Am..G...Am..G...*.C...F...D...G...*.E........................................ R * * R P P P P * P P P P * P P P P E-(0)-(3)-(0)------|-0---1---2---3---|-4---4---5---7---------------------------| B--1---0---1---3---|-1---1---3---0---|-5---------------------------------------| G--2---0---2---0---|-0---2---2---0---|-4---------------------------------------| D--2---0---2---0---|-2---3---0---0---|-6---------------------------------------| A--0---2---0---2---|-3---3--(0)--2---|-7---------------------------------------| E------3-----------|-------------3---|-4---------------------------------------| Note 1: This chord sequence Steve seems to frequently drop; e.g., Yessongs film, Live at QPR 1975 concert. This transcription is based on a very clear video on the 1989 ABWH concert. Notice the chromatic sequence in the second bar on high notes. I don't see any pattern on the bass side, but it sounds good. I was able to ask Steve about this via e-mail and his Web site: CG: When you perform "Clap," it seems that you usually do something a little different every time, which keeps it interesting I'm sure. But I've noticed that you often drop the quick chord sequence in the middle that goes Am-G-Am-G-C-F-D-G-E in steady quarter-note time. Is there any particular reason? Since it was included on The Yes Album performance, I always assumed it was an essential part of the song. Now I'm wondering if perhaps it is just sort of a "variation" that can be pulled out from time to time. How do you see it? SH: Over the years I've done all sorts of things with 'Clap', and I do have cut off points where I can go to one thing, go to another, or if I feel like it just go with the main bit that I wrote. There is a particular thing about those chords, there are times when I don't play them but I'm not going to tell anybody what it is [laughs]. Note 2: He plays this D with a half-barre on the 2nd fret, and 2 finger on 3rd fret. His 3rd and 4th fingers are in the air. Personal preference. Note 3: I'm not sure if he actually plays the low G, but he certainly fingers it. Given the following E chord, it would seem that a barred G would make more sense. However, he *definitely* plays the nut version of the G chord. Note 4: Yes, he plays a full barre on the 4th fret, and the change from the G is very fast and difficult. This is probably a place where one could cheat with no one being able to tell! Why would he do the barre if he did not play the low G#? And if he plays the G#, he probably plays the low G in the previous chord. (I don't play the low G#, allowing me to do an easier half-barre on the 4th fret instead of a full barre.) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 34 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 34->> TYA?, CD2= 2:08 N 1 * * * ...................*.................*.................*........................ R m m * m m * m m * m m R P P * P P P P P * P P P * P P P P P E------------------|-----------------|-----------------|-----------------------| B------6-------6---|---6-----6-------|-----7-------7---|---7-----7-------------| G------4-------4---|(4)--4-----4(4)--|-----5-------5---|(5)--5-----5(5)--------| D--3-------0-------|-3-----0-----3---|-4-----------0---|-4-----------4---------| A------------------|-----------------|---------0-------|-------0---------------| E------------------|-----------------|-----------------|-----------------------| Note 1: Steve sometimes tends to muddy these notes by playing double strings, which I've suggested with parentheses. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 35 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 35->> TYA?, CD2= 2:13 N * * 1 * ...................*.................*.................*........................ R m m * m m * m m * m m R P P * P P P P P * P P P * P P P P P E------------------|-----------------|-----------------|-----------------------| B------6-------6---|---6-----6-------|-----7-------7---|---7-----7-------------| G------4-------4---|(4)--4-----4(4)--|-----5-------5---|(5)--5-----5(5)--------| D--3-------0-------|-3-----0-----3---|-4-----------0---|-4-----------4---------| A------------------|-----------------|---------0-------|-------0---------------| E------------------|-----------------|-----------------|-----------------------| Note 1: On TYA, he plays the exact same pattern here on the repeat. On YMP, he plays the open D instead of the A here. I prefer the classic TYA version. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 36 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 36->> TYA?, CD2= 2:17 N 1 * 2 3 * 4 * 5 5 5 ...E...............*.................*.A7..............*........................ R a a * a a a a * a a * a m a R P P P P * P P P P * P P P P * P h p P P P E------------------|-------0---------|-----------------|-----------------------| B------9-----9-----|-7-7-------7-----|-----8-----7-----|-5-7-5-------5---------| G------------------|-----------------|-----6-------6---|------(6)6-----6-------| D------6-------6---|----(6)------6---|-----7-------7---|-------7-------7-------| A------7-------7---|-----7-------7---|-0-------0-------|-0---------0-----------| E--0-------0-------|-0-------0-------|-----------------|-----------------------| Note 1: Steve plays the G# on the sixth fret even though it makes this passage much more difficult (from video). Note 2: For variation, Steve sometimes plays the low E here again instead of the medium E. This creates a "1-2 1-2 1-1-1-2" type pattern. Note 3: He *definitely* plays the high E on the open string (from video). Note 4: Lay your 1 finger on 5th fret of the B string now. Note 5: This seems to be a very quick little "triplet." Though you could also play the E pull off simultaneous with the "&" beat. Very subtle difference. It's tough to tell. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 37 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 37a->> TYA, CD2= 2:22 N 1 1 * 2 3 4 5 5 6 * 7 8 * 9 9 9 9 9 9 ...E7..............*...............G.*.A.................*...................... R a a * a m a v ^ v * ^ ^ v ^ v ^ v * ^ m ^ v ^ v ^ v R P P P P * P P P P P P * P P P P h P P P * P s P s P P P P P E------10----9-----|-7-----0---------|-------------------|-----5---------------| B------------------|---8-------8-8-0-|-----------------2-|-----------0---0-----| G------------------|-----------0-0-0-|-2---2---------2-2-|-4-6---6-4-0-4-0-2(0)| D-----(6)------6---|-----6-----6-6-0-|-2---2-------x-2-2-|-2-------------0-2-0-| A------7-------7---|-----7-----7-7-2-|-0---0-0-3-4-------|-----------------0-0-| E--0-------0-------|-0-------0-----3-|-0-----------------|---------------------| 37b->> TYA, CD2= 2:26 N 10 * 11 ...A...............*............................................................ R ^ ^ ^ ^ v * v ^ ^ v ^ v R P s P P s P P * s P P s P P P P E------------------|-----------------------------------------------------------| B------2---1-2-x-1-|-2-0-1-2---------------------------------------------------| G--1-2-2---1-2-x-1-|-2-0-1-2-0-0-2-2-------------------------------------------| D--1-2-2---1-2-x-1-|-2-0-1-2-0-0-2-2-------------------------------------------| A--0---0---0-----0-|-----0-----------------------------------------------------| E------------------|-----------------------------------------------------------| 37a->> NNA, CD22= 2:11 N 1 1 * 2 3 4 * 7 8 * ...E7..............*.................*.A.................*...................... R a a * a m a v ^ v * ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ R P P P P * P P P P P P * P P P P h P P P * P P P P P P P h E------10----9-----|-7-----0---------|-------------------|---------------------| B------------------|---8-------8-----|-------------------|---------------------| G------------------|-----------------|-------------------|-2-2(2)2(2)2---------| D--------------6---|---------------0-|-------------2-4-2-|-5---5---4-----------| A------7-------7---|-----7---7---x---|-0---0-0-3-4-------|-------------3-4-----| E--0-------0-------|-0---------------|-------------------|---------------------| 37b->> NNA, CD22= 2:15 N 10 * ...A...............*............................................................ R ^ ^ ^ ^ v * v ^ ^ v ^ v R P s P P s P P * s P P s P P P E-------------(0)--|-----------------------------------------------------------| B----------1-2-x-1-|-2-------------2-------------------------------------------| G--1-2-2---1-2-x-1-|-2-1-1-2---2---2-------------------------------------------| D--1-2-2---1-2-x-1-|-2---1-2-2-2---2-------------------------------------------| A--0---0---0----(0)|---------0-------------------------------------------------| E------------------|-----------------------------------------------------------| Note 1: Use 4 finger for high D and following C#. The 1 finger is on the D string, 6th fret, and the 2 finger is on the A string, 7th fret (from video). This lick is not easy by any means! It will take lots of practice. Note 2: Use 3 finger for B. Note 3: Use 4 finger for G and hold it down until next (from video). He typically (TYA, NNA) gives the G a little bend here too. Note 4: Lift 3 finger to play the open E. This is difficult since you're holding down the 4 finger on the B string (from video). Note 5: Yes, there is one-half step dissonance (G# and G) here on TYA. It is very brief, and I suppose it accomplishes some interesting tension. I don't know what kind of chord it is, but it does sound good somehow. Note 6: On TYA, at 6x speed I hear the low G and B of the G chord. That's a very quick movement of the left hand just to get a transitional chord! It's hard to believe, but I hear it very clearly. Note 7: This is an A chord. From video, he barres it with his 1 finger. I have every reason to believe that he also barres it this way on TYA and NNA, which have licks but no video. To play the NNA lick, you will definitely want a 1-finger barre on the 2nd fret, though not necessarily at this exact point. Note 8: On TYA and NNA, I am showing a hammer-on, but it may be a slide. This note and the previous one (C) occupy the same eighth note's worth of time. Note 9: Triplet. On the high A, Steve may well be using the pick. I find the "m" finger easier. Note 10: On TYA and NNA, this point starts a bit of "off-beat" syncopation that is rather difficult to play. For example, notice that he slides into the first beat of the second measure. Note 11: On TYA, after playing the open G interval, he quickly slides into the A interval starting on the first fret. It's too quick to show--very subtle. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 38 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 38->> TYA?, CD2= 2:28 N 1 2 2 2 * 2 2 2 * 3 4 * 5 .....................*...................*.................*.................... L 1 4 1 4 3 1 3 1 * 4 1 4 3 1 3 3 1 3 * 3 1 2 3 1 3 * 1 3 1 1 3 1 3 3 R P P P P P p p P P * P P P p p P P P P * P P h P p P p * P h P P h P P s E--0-2-------------5-|-------------------|-----------------|-------------------| B--2(2)5-2-----------|-8-5---------7-----|-7--(5)----------|-------------------| G--2-------5-4-2-----|-----8-7-5---7-5---|-7---5-6---------|-------------------| D--2-------------4---|-----------7-----7-|---------7-5-----|-----5-----5-------| A--0-----------------|-------------------|-------------7-0-|-5-7---5-7---------| E--------------------|-------------------|-----------------|-------------7-8---| Note 1: The high, open E is audible on this strum on both TYA and NNA, which casts some doubt on what I said in note 7 of chart 37 about a barre on the second fret. (The video I referred to was QPR, which does not contain these licks.) I will continue to investigate this! Note 2: Triplet. Note 3: Half barre with 1 finger. The E sounds good, but don't sweat it. Note 4: I have to say this is a really fun passage! From video, he seems to have his 2 finger anchored on the C# throughout most of the rest of the lick, but I don't see why because I definitely don't hear it again after this and it doesn't make it any easier to play (IMO). There's a moment (the open A I think) where his 2 finger is down and 1 and 3 are in the air. Note 5: This slide is with the 3 finger and it transitions both the sound and your hand into position for the following D/A chord. It is very quick. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 39 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 39->> TYA?, CD2= 2:32 N * * * 1 ...D/A......G........*.D/F#....A/E.....*.D/A......G........*.D/F#....B7......... R a a * a a * a a * a a R P P P P * P P P P * P P P P * P P P P E----10--------------|-----------------|---10--------------|-----------7(7)----| B-------7------8-----|---7-------5-----|------7------8-----|---7-------7-7-----| G-------7--------7---|-----7-------6---|------7--------7---|-----7-----8-8-----| D--7-------------9---|-----7-------7---|-7-------------9---|-----7-------7-----| A-----------10-------|-9-------7-------|----------10-------|-9----------(9)----| E--------------------|-----------------|-------------------|---------7---------| Note 1: This B7 gets a bit muddy, but the low B and high B are definitely both in there. They seem to help the key-change transitional effect. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 40 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 40->> TYA?, CD2= 2:37 N 1 * * 2 3 3 * 3 4 ..E/B.....A.........*.E/G#....B/F#...*.E/B.......A...........*.E/G#.....B/F#.... R a a * a a * a (a) a (a) * a (a) R P P P P * P P P P * P P P P * P P P P P E---12--------------|----------------|---12--(12)------------|-----------------| B------9-----10-----|----9------7----|------9(9)----10---(10)|----9--(9)7-7----| G------9--------9---|------9------8--|------9----------9-(9)-|------9(9)8-8----| D-9-------------11--|------9------9--|-9---------------11----|------9---9-9----| A---------12--------|-11------9------|-----------12----------|-11-------9-9----| E-------------------|----------------|-----------------------|--------------2--| Note 1: In this chart quarter notes are followed by two spaces instead of three. Note 2: Steve seamlessly turns this picking into strumming somewhere in here. I'm not sure how he does it so smoothly. Listen and feel it! Note 3: Part of the picking-to-strumming transition seems to come as a result of adding in the 4th beat to the "1&2 3&4 " pattern, which results in "1&2&3&4&." Experiment with this, and by all means listen to Steve. Also, he may be using the back stroke of his pick to get this 4th beat instead of his m or a finger. Note 4: Bend the F# up to G and release to open E (in next measure). The MJF and QPR videos are the only ones that show this, and they show it poorly. He seems to use his 2 finger. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 41 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 41->> TYA?, CD2= 2:41 N 1 2 * 2 * * 3 4 ...E7..............*.................*.F#7.............*........................ R a m * a m a m * a a * a a R P P P P * P P P P * P P P P * P P (P P)P E------0-----------|-0-----0---------|-----0-----------|-------0(0-0)----------| B-----(0)----8==>--|---8=>----(0)----|-----7-----7-----|---7---7(7-7)----------| G-----(7)----------|-----------7-----|-----9------(9)--|-------9(9-9)----------| D------6-------6---|----(6)------6---|-----8-------8---|-----8--(8-8)----------| A------7-------7---|-----7-------7---|-9---------------|-9------(9-9)----------| E--0-------0-------|-0-------0-------|---------9-------|-------------8---------| Note 1: Here he sometimes plays the low E instead of the middle E for a "1-1-1-2 1-2 1-2" type bass pattern. The bass is rather subdued throughout this passage; the emphasis is on the picking line. Note 2: Bend this note with 4 finger and hold it as shown. The first bend seems to get more time than the second. Note 3: There seems to be a slight pause here, and then again he seems to strum very quickly. You can see this in slow motion on video. This is a bit fuzzy. Note 4: Bend with 2 finger. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 42 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 42->> TYA?, CD2= 2:45 N 1 * 2 3 * * ...A7..............*.................*.................*........................ R a m * a m a m * m m m m * m m m m R P P P P * P P P P * P P P P * P P P P E------0-----------|-0-----0-----0---|-----------------|-----------------------| B-----(8)----8-----|---8-------------|-----------------|-----------------------| G------6-------6---|-----------6-6---|-1---2---3---4---|-5---6---7---8---------| D------5-------5---|-----5-------5---|-----------------|-----------------------| A--0-------0-------|-0-------0-------|-----------------|-----------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---8---------| Note 1: Notice that he returns to a similar alternating E-to-G (0-to-8) lick theme as in chart 41, but this time on an A7 chord. Note 2: Here again he seems to be playing the open A instead of the G for a "1-2 1-2 1-1-1-2" type bass pattern. Note 3: From video, he lifts off his 4 finger, which makes the open E easier to play but also opens up the possibility of playing a sour open B. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 43 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 43->> TYA?, CD2= 2:49 N 1 * 2 1 * * 3 4 5 ...E7..............*.................*.F#7.............*........................ R a m * a m a m * a a * a a a R P P P P * P P P P * P P P P * P P P P P E------0-----------|-9-0-------0-----|-----0-----------|-9-9---0-0-0-----------| B-----(0)----8===>-|-------8=>(0)----|-----7-----7-----|------(7)7-7-----------| G-----(7)----------|------------(7)--|-----9------(9)--|------(9)9-9-----------| D------6-------6---|----(6)------6---|-----8-------8---|----(8)--8-8-----------| A------7-------7---|-----7-------7---|-9---------------|-9---9---9-9-----------| E--0-------0-------|-0-------0-------|---------9-------|-------------8---------| Note 1: Bend this note with 4 finger. As shown, the first bend gets more hold time than the second. Note 2: Here he may be playing the low E instead of the middle E for a "1-2 1-2 1-1-1-2" type bass pattern. The bass is rather subdued throughout this passage; the emphasis is on the picking line. Note 3: On TYA he plays an open high E here. On YSG and QPR he doubles up the C# as shown here. Note 4: He never returns to the low C# in the bass. He does seem to play a "1-1-1" rhythm on the F# (of which this is the second). But it's fuzzy, and almost every version is different. Listen and experiment. Note 5: Bend with 2 finger. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44->> TYA?, CD2= 2:54 N 1 * * * ...A7..............*.................*.................*........................ R a m * a m a m * m m m m * m m m m R P P P P * P P P P * P P P P * P P P P E------0-----------|-0-----0-----0---|-----------------|-----------------------| B-----(8)----8-----|---8--------(0)--|-----------------|-----------------------| G------6-------6---|-----------6-6---|-1---2---3---4---|-5---6---7---8---------| D------5-------5---|-----5-------5---|-----------------|-----------------------| A--0-------0-------|-0-------0-------|-----------------|-----------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---8---------| Note 1: Many times he will strum through this A7, alternately lifting 4 finger off and on 8th fret. Other times he picks through the same pattern as before in chart 42 (as shown here). ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 45 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 45->> TYA, CD2= 2:58 N 1 2 * 3 3 4 3 3 * 4 4 3 3 ........................*............................*.......................... L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v R P P p P P p P P *(P) s P P s P P P P P * P h P P h P P s P E--12-12-9--------------|-------12-------------------|-------------------------| B----------12-12-9------|----------------------------|-------------------------| G------------------11-9-|(11)13----13-11-9-11-9------|------9-9----9-----------| D-----------------------|-----------------------11-0-|-9-11---9-11-------------| A-----------------------|----------------------------|---------------11-9-7----| E-----------------------|----------------------------|-------------------------| 45->> YMP, CD3= 4:04 N 1 2 * 3 3 4 3 3 * 4 4 3 3 ........................*............................*.......................... L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v R P P p P P p P P *(P) s P P s P P P P P * P h P P h P P s P E--12-12-9--------------|-------12-------------------|-------------------------| B----------12-12-9------|----------------------------|-------------------------| G------------------12-9-|(12)13----13-11-9-11-9------|------9-9----9-----------| D-----------------------|-----------------------11-0-|-9-11---9-11-------------| A-----------------------|----------------------------|---------------11-9-7----| E-----------------------|----------------------------|-------------------------| 45->> NNA, CD22= 2:46 N 1 2 * 3 3 4 3 3 * 4 4 3 3 ........................*............................*.......................... L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v R P P p P P p P P * P s P P s P P P P P * P h P P h P P s P E--12-12-9--------------|-------12-------------------|-------------------------| B----------12-12-9------|----------------------------|-------------------------| G------------------12-9-|-12-13----13-11-9-11-9------|------9=>----9-----------| D-----------------------|-----------------------11-0-|-9-11---9-11-------------| A-----------------------|----------------------------|---------------11-9-7----| E-----------------------|----------------------------|-------------------------| 45->> QPR N 1 2 * 3 3 4 3 3 5 * 4 4 3 3 ........................*............................*.......................... L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v R P P p P P p P P *(P) s P P s P P P P P * P h P P h P P s P E--12-12-9--------------|-------12-------------------|-------------------------| B----------12-12-9------|----------------------------|-------------------------| G------------------12-9-|(12)13----13-11-9-11-9----0-|------9------9-----------| D-----------------------|-----------------------11---|-9-11---9-11-------------| A-----------------------|----------------------------|---------------11-9-7----| E-----------------------|----------------------------|-------------------------| Note 1: The left hand and right hand technique shown on this chart is Steve's (from QPR video). This chart consists entirely of eighth notes except as noted (see note 3). Note 2: Here seems to be another evolutionary change. On TYA, he plays an F#; on later versions, it's a G. On the only video source (QPR), he clearly is fretting the 12th fret (not 11th). On TYA, I would guess that he used his 3 finger for notes on the 11th and 12th frets. Note 3: Sixteenth note. Note 4: Steve uses the pick here; I find the "m" finger to be easier. Note 5: On QPR, this open G sounds a little awkward. Mistake? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 46 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 46->> TYA, CD2= 3:01 N 1 2 3 4 * 5 * 5 * 6 7 8 7 ..........E.......*.............*.............*................................. L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 R ^ v ^ ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ R P P P s P P * P m P P m P * P m P P m P * P h P P P h P P p p E---------0-----0-|---3-----0---|-------------|---------------------0----------| B---------0-------|-----3-----0-|---0-----0---|-------------------------3------| G---------1-------|-6-----3-----|--(0)0-----0-|---------0---0---3-4-----3-2-0--| D---------2-------|-------------|-4-----------|--------------------------------| A-9-x-----2-------|-------------|-------4-----|-1---2--------------------------| E-----9=>-0-------|-------------|-------------|--------------------------------| 46a->> YMP, CD3= 4:07 N 1 2 4 * 5 * 5 9 * 6 7 8 7 ..........E.......*.............*.............*................................. L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 R ^ v ^ ^ v ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ R P P P s P P P * P m P P m P * P m P P mP * P h P P P h P P p p E---------0---0-0-|---3-----0---|-------------|---------------------0----------| B---------0---0---|-----3-----0-|---0------0--|-------------0----------(0)-----| G---------1---1---|-6-----3-----|-----0----(0)|---------0-------3-4-----3-2-0--| D---------2---2---|-------------|-4-----------|--------------------------------| A-9-7-----2-------|-------------|-------4-----|-1---2--------------------------| E-----9=>-0-------|-------------|-------------|--------------------------------| 46b->> YMP, CD3= 4:11 N 6 8 10 7 * 6 8 10 7 ...................................*............................................ L 2 2 3 3 2 * 2 2 3 3 2 R ^ v ^ v ^ * ^ v ^ v ^ R P P P h P P p p * P P P h P P p p E----------------------0-----------|---------------------0---------------------| B-------------------------(2)------|-------------------------2=>-0-------------| G--2-----------0---3-4-----3-2-0---|-2-----------0---3-4-----3-2-0-------------| D----------------------------------|-------------------------------------------| A----------------------------------|-------------------------------------------| E----------------------------------|-------------------------------------------| 46->> NNA, CD22= 2:49 N 1 2 3 4 * 5 * 5 * 6 7 8 7 ..........E.......*.............*.............*................................. L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 R ^ v ^ ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ R P P P s P P * P m P P m P * P m P P m P * P h P P P h P P p p E---------------0-|---3-----0---|-------------|---------------------0=======>--| B---------0-------|-----3-----0-|---0-----0---|------------------------(0)-----| G---------1-------|-6-----3-----|-----0-----0-|---------0---0---3-4-----3-2-0--| D---------2-------|-------------|-4-----------|--------------------------------| A-9-7-----2-------|-------------|-------4-----|-1---2--------------------------| E-----9=>-0-------|-------------|-------------|--------------------------------| 46->> QPR N 1 2 4 * 5 * 5 11* 6 7 8 7 ..........E.......*.............*.............*................................. L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 R ^ v ^ ^ v ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ R P P P s P P P * P m P P m P * P(m)P P m P * P h P P P h P P p p E---------------0-|---3-----0---|-------------|---------------------0----------| B-------------0---|-----3-----0-|--(0)0---0-0-|--------------------(0)---------| G---------1-------|-6-----3-----|-----0-------|---------0---0---3-4-----3-2-0--| D-9-7-----2-------|-------------|-4-----------|--------------------------------| A-9-7-----2-------|-------------|-------4-----|-1---2--------------------------| E-----9=>-0-------|-------------|-------------|--------------------------------| Note 1: The left and right hand technique shown on this chart is Steve's (from QPR and YMP videos). Note 2: Slide this quarter note all the way down the E string into the E chord. Note 3: Time wise, this E chord is a quarter note followed by an eighth rest (TYA and NNA only). Note 4: This fantastic lick typically starts here on the "4&" beat. From QPR video, Steve plays this open E with a pick, but I find the "m" finger easier. Note 5: This bar is written in 6/8 time because the phrasing is in threes. The transcriptions I've seen continue to show 4/4, which makes it harder to understand. If you watch Steve play it on YSG, his head is nodding in 6/8! Note 6: I'm back to 4/4 time again. This bar contains sixteenth notes, so to show the relative time better, I've doubled the scale. Now a sixteenth note is separated from the following note by 1 space, an eighth note is separated by 3 spaces, a quarter by 7 spaces, and a dotted quarter by 11 spaces (YMP b chart). Note 7: I prefer using my 1 and 2 fingers to play this hammer-on or pull-off sequence. Steve uses his 2 and 3 fingers as shown. Note 8: Steve uses his pick to play the high E. I prefer the "m" finger. Note 9: On YMP, this seems to be a mistake. The tab is spaced the way it sounds. The open B gets delayed a bit, and a quiet open G follows almost immediately after. Note 10: On YMP, there is some C# harmony in this pull-off sequence. From video, he is just using his 2 and 3 fingers, so he must be fretting the B and G strings with his 2 finger somehow. That's a nice trick. On the last measure he really gets it; you can hear the C# get pulled off to open B. Note 11: On QPR, I think he meant to get the open G with the pick. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Chart 47 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 47->> TYA, CD2= 3:05 N 1 * ...................*.E6/9....................................................... L 2 1 2 * R ^ ^ ^ ^ * ^ R P P h P P * P E------------------|-----12================>-----------------------------------| B------0-----------|----12=================>-----------------------------------| G--2---0-1---------|---11==================>-----------------------------------| D----------2-------|--11===================>-----------------------------------| A------------------|-11====================>-----------------------------------| E--------------0===|=======================>-----------------------------------| 47->> YMP, CD3= 4:14 N 1 2 * 3 4 * 4 5 ...........Emaj9...*.................*..........E6/9.....................E...... L 2 1 2 3 * 3 1 4 3 * 3 R ^ ^ ^ ^ * ^ ^ ^ ^ * ^ ^ v ^ v ^ v ^ v ^ v ^ R P P h P P * P P P P * P P P P P P P P P P P P E------------------|-----------------|*7*-------12-12-12-12-12-12-12-12--0-0-0-| B------------------|------------*7*--|----------12-12-12-12-12-12-12-12--0-0-0-| G--2---0-1(1)------|---------8=======|=>--------11-11-11-11-11-11-11-11--1-1-1-| D----------2-------|-----6===========|=>--------11-11-11-11-11-11-11-11--2-2-2-| A------------------|*7*--------------|----------11-11-11-11-11-11-11-11--2-2-2-| E-------------*7*--|-----------------|-----------------------------------0-0-0-| 47->> NNA, CD22= 2:53 N 1 2 * 3 4 * 4 5 ...........Emaj9...*.ritardando......*.....E6/9maj7..........E6/9........A...E.. L 2 1 2 3 * 3 1 4 3 * 3 R ^ ^ ^ ^ * ^ ^ ^ ^ * ^ ^ v ^ v ^ v ^ v ^ v ^ v ^ ^ R P P h P P * P P P P * P P P P P P P P P P P P P P P E------------------|-----------------|*7*--7-7-7-7-8-8-10-10-12-12-12-12-0---0-| B------------------|------------*7*--|-----7-7-7-7-8-8-10-10-12-12-12-12-2---0-| G--2---0-1---------|---------8=======|=>---6-6-6-6-7-7-9--9--11-11-11-11-2---1-| D----------2-------|-----6===========|=>---6-6-6-6-7-7-9--9--11-11-11-11-2---2-| A------------------|*7*--------------|-----6-6-6-6-7-7-9--9--11-11-------0---2-| E-------------*7*--|-----------------|-----0---0---0---0---------------------0-| Note 1: The left and right hand technique shown on this chart is Steve's (from QPR video). I prefer to use my 1 finger on this A, having used it in the previous pull-off sequence. Steve uses his 2 finger as shown. Note 2: This E and the following notes create an Emaj9 chord, which includes a major 7th. From QPR video (similar to YMP and NNA), he picks all harmonics with the flatpick. Note 3: It's a bit tricky holding this note because you don't want to damp the next harmonic on the B string. Note 4: Steve picks up both of these last two harmonics with his 3 finger. A bit of a trick since you're holding down your 1 and 4 fingers (from QPR video). Note 5: On YMP and NNA, there is a pause followed by very quick "mandolin style" strumming. Note that that is the about the only similarity between the two endings. The tab here is suggestive; I have no idea how many times he strums! |<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->| Steve Howe says the following about "Clap": After writing songs for two years, in 1969 I wrote my first instrumental, "Clap." Around this time I had been re-listening considerably to Chet Atkins and waiting for my first son to be born. Soon I joined Yes and have performed this at almost all of our concert appearances, but in the last two years I have played it with a much more relaxed finger technique, which helps keep the speed up and also [gives] smooth control. The Yes Album recording was made on a Revox at the Lyceum Ballroom on my Martin 00-18, which I still use for concerts now, aided by a Barcus Berry pick-up. 1980, from Steve's book, "Steve Howe Guitar Pieces." "Clap" on The Yes Album really defined what I could do on the guitar. It was very much influenced by Chet Atkins and I think it's the main guitar tour de force that I've written. The title "Clap" was actually a total balls-up--I remember turning to Bill Bruford and he said, "call it Clap," because he thought it makes you want to clap along with it. Then when Jon announced it on the record he called it "The Clap." This changed the context for the rest of my life! Atlantic kept insisting on writing "The Clap"--I went through the roof! I just couldn't get away from the distasteful connotations of the title. Since it's one of my best pieces, it's annoyed me a lot that it became known as "The Clap"--it had absolutely no reference to things like that! It was supposed to be about clapping along and enjoying yourself! 1992, from the Tim Morse book, "Yesstories" (original source The Guitar Magazine). I told an audience the other day that it's still a challenge to play, and it really is. I'd say that at the moment, it's one of the best guitar pieces I've written. I only change it slightly now--I change the dynamics a little to keep it interesting and fresh. It seems to have guitarists outfoxed; very few know how to play it correctly. I just made it up one night. It was written on the night of August 3, 1969. I remember that because my son Dylan was born the next day. So it has a very strong connection with Dylan. 1993, from the Tim Morse book, "Yesstories" (original source Guitar World). Within a year of getting the Martin [00-18] I wrote "Clap" on it, which I still think is the best composition I'll write in my life--and if that does turn out to be the case, I won't be disappointed. On The Yes Album, we used a live recording of "Clap" made at a concert at the Lyceum in London. It seemed novel to have a live track on the record, and in fact I don't recall recording a studio version. 1993, from Steve's book, "The Steve Howe Guitar Collection." |<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->||<--::-->|