Okay, so that's one of my compositions.
It's called The Fair Haired Child, and
it's one of the movements from
my new suite, orchestral suite, it sounds
The Spirit of Django Orchestral Suite that
I recently performed
with the Royal Liverpool Philharmonic
And basically I played pretty much what I
But on top of that we had the whole
orchestra of strings and
harp to play on top of that as well.
So here's the, the, the guitar, guitar
version for you.
Now, you'll find that we have a tabbed
version of this solo in its,
in its entirety.
But we also have a lead sheet, which just
has the the melody and the chords as well.
Now, there's a very good reason for that,
because you can look at the tab and
see the solo.
And very often with tab, because it's,
it's such a good thing to have for us
So we get, we can see when we hear a solo
that we want to learn,
we can see exactly where the guitar player
put their fingers.
Rather, you know, the, the, the, the
But sometimes we can get too caught up in
It's gotta be played this way and
sometimes there's been tab tabs of some of
my, my pieces of music.
And then somebody sees me play and they
think I've changed something around.
But I, sometimes use, I sometimes change
It's all to do with notes.
Actually, to think notes rather than to
So it, it isn't so important, the, the
finger, the fingering that you use.
The important thing are the notes.
So but, this way you, you've got
You've got the, you've got the notation of
the, the melody.
You've got the chords, which is like our,
our guide there.
And we also have the, the tab, where you
can see exactly what I play.
But you know, this, this isn't written in
This is really a guide for you, so if you
this piece of music it, it's really a
guide for you to do something else.
You may wish to play some of these notes
in different positions or
play different fingerings so don't really
get too tied up on, on the tab.
It's a great thing but it, it's not
written in, in tablets of stone.
It's, it's there, you can in, interpret
So, what I want to do here is to break
this down into its, its components.
First of all, let's take the melody.
Now, remember this not to get
caught up with the positions that I'm
playing or the fingering that I'm playing.
Just the notes so, I mean, the opening
I could play it.
Or, I could play it here.
It doesn't, it doesn't matter.
I'm only playing this in this particular
that you can hear the melody and how, how
the melody goes and how it's phrased.
So this is how the melody goes and you've
got the, the PDF to, to follow with this.
So this is, this is
the first component,
Then we repeat that part,
except just at the end, it has a slightly
Here we go again.
See, I played a different fingering there.
It doesn't matter.
And the second time the melody is
So that's our two A sections.
We come to the B section, the middle part.
And then we come back to the, the A
It changes here.
So it's made up of that classic A, A,
B, A formula.