Chords for Antonio Sanchez: Gathering Sky Lesson
Tempo:
101.1 bpm
Chords used:
D
Eb
E
B
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I'm gonna play another tune.
This is also from the Padme Thinic group and this is called the Gathering Sky.
It has like a West African vibe to it, that's how it starts.
And then it goes like into 3-4 samba, sort of, when the guitar solo starts.
And that samba goes sort of like this.
1-2-3, 1-2-3.
[B] [Eb]
[D]
[Eb] [B]
[Bb] So the whole guitar solo is developed over this section.
And then at the end of this tune, whenever we used to play it live, I used to do a drum [D] solo, an open drum solo.
And that's also what I'm gonna do here.
But I'm gonna explain a little bit what I'm gonna do so you can follow.
Most of it is gonna be based around clave.
The 4-4 clave, which is like a 3-2 rumba clave, which goes like this.
So that's one.
Another one that I do is the 5-4 clave that I did previously.
Only this time I have another cowbell right next to my right foot.
And I play beat number one of each 5-4 bar on that one.
It goes like this.
So
[E] [D]
[E] every time you hear that cowbell, it's beat one of every 5-4 bar.
Then I play another clave, which I also developed playing with Danilo Perez, which is in 7-8.
So you have to imagine two bars of 7-8, back to back.
The first bar is 2-3 clave.
So it would go like this.
That's just the first bar.
The second bar turns around into a 3-2 clave.
So both claves put together, both halves, go like this.
[Em]
And just like the other clave, when you hear this cowbell, that's beat one of every two bars of 7-8.
[Eb]
[E] Clear?
So even though this stuff sounds a little technical and complicated,
I try to follow all the same principles that I was talking about before.
Dynamics, orchestration, trying to make the solo into a story.
I don't like to play random, so I really like to develop ideas.
So even though I'm going to be trying to do these things at the same time,
on top I really want to try to play logical, coherent ideas.
And another thing that I do is what I call extreme independence,
which is I let go of my lower body playing the clave,
and then I can play stuff in another time or another tempo on top.
Something like this.
[D]
[Eb]
[Ab]
So what I like about that is that I like to hear counterpoints to whatever I'm playing [D] down here,
with what's going on up here.
Like if I was a piano player and I had my left hand free to do like an ostinato,
and then I could play out of time with my right hand,
and playing some melodies that do some kind of answer to what I'm playing on my left hand,
which would be the equivalent of my lower body.
And another thing I like to do is kind of trying to play melodies with the cabels.
Like something like this.
While playing the clave on the hi-hat, if I hit with my heel this bell,
and then the other bell with my other heel at certain points,
then I can hear a melody happening, like this.
[Eb]
[E]
[D] [N] So then I hear
And then if I do that and then play some stuff on top that goes with that,
then I start getting a feeling that is like a little orchestra, mini orchestra.
So these are some of the things that I like to try to do whenever I'm playing a solo like this.
So this tune is The Gathering Sky.
This is also from the Padme Thinic group and this is called the Gathering Sky.
It has like a West African vibe to it, that's how it starts.
And then it goes like into 3-4 samba, sort of, when the guitar solo starts.
And that samba goes sort of like this.
1-2-3, 1-2-3.
[B] [Eb]
[D]
[Eb] [B]
[Bb] So the whole guitar solo is developed over this section.
And then at the end of this tune, whenever we used to play it live, I used to do a drum [D] solo, an open drum solo.
And that's also what I'm gonna do here.
But I'm gonna explain a little bit what I'm gonna do so you can follow.
Most of it is gonna be based around clave.
The 4-4 clave, which is like a 3-2 rumba clave, which goes like this.
So that's one.
Another one that I do is the 5-4 clave that I did previously.
Only this time I have another cowbell right next to my right foot.
And I play beat number one of each 5-4 bar on that one.
It goes like this.
So
[E] [D]
[E] every time you hear that cowbell, it's beat one of every 5-4 bar.
Then I play another clave, which I also developed playing with Danilo Perez, which is in 7-8.
So you have to imagine two bars of 7-8, back to back.
The first bar is 2-3 clave.
So it would go like this.
That's just the first bar.
The second bar turns around into a 3-2 clave.
So both claves put together, both halves, go like this.
[Em]
And just like the other clave, when you hear this cowbell, that's beat one of every two bars of 7-8.
[Eb]
[E] Clear?
So even though this stuff sounds a little technical and complicated,
I try to follow all the same principles that I was talking about before.
Dynamics, orchestration, trying to make the solo into a story.
I don't like to play random, so I really like to develop ideas.
So even though I'm going to be trying to do these things at the same time,
on top I really want to try to play logical, coherent ideas.
And another thing that I do is what I call extreme independence,
which is I let go of my lower body playing the clave,
and then I can play stuff in another time or another tempo on top.
Something like this.
[D]
[Eb]
[Ab]
So what I like about that is that I like to hear counterpoints to whatever I'm playing [D] down here,
with what's going on up here.
Like if I was a piano player and I had my left hand free to do like an ostinato,
and then I could play out of time with my right hand,
and playing some melodies that do some kind of answer to what I'm playing on my left hand,
which would be the equivalent of my lower body.
And another thing I like to do is kind of trying to play melodies with the cabels.
Like something like this.
While playing the clave on the hi-hat, if I hit with my heel this bell,
and then the other bell with my other heel at certain points,
then I can hear a melody happening, like this.
[Eb]
[E]
[D] [N] So then I hear
And then if I do that and then play some stuff on top that goes with that,
then I start getting a feeling that is like a little orchestra, mini orchestra.
So these are some of the things that I like to try to do whenever I'm playing a solo like this.
So this tune is The Gathering Sky.
Key:
D
Eb
E
B
Bb
D
Eb
E
_ _ _ _ _ _ _ _
_ _ _ I'm gonna play another tune.
This is also from the Padme Thinic group and this is called the Gathering Sky.
It has like a _ West African vibe to it, that's how it starts.
And then it goes like into _ 3-4 samba, sort of, when the guitar solo starts.
And that samba goes sort of like this. _
1-2-3, 1-2-3. _ _ _ _
_ [B] _ _ _ [Eb] _ _ _ _
_ _ _ _ _ _ [D] _ _
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ [B] _ _ _ _
_ [Bb] _ _ _ So the whole guitar solo is developed over this section.
And then at the end of this tune, whenever we used to play it live, I used to do a drum [D] solo, an open drum solo.
And that's also what I'm gonna do here.
But I'm gonna explain a little bit what I'm gonna do so you can follow.
_ Most of it is gonna be based around clave.
The 4-4 clave, which is like a 3-2 rumba clave, which goes like this. _ _ _ _ _ _
_ _ _ _ _ So that's one.
Another one that I do is the 5-4 clave that I did previously.
Only this time I have another cowbell right next to my right foot.
And I play beat number one of each 5-4 bar on that one.
It goes like this.
So _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ _ _ [D] _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ every time you hear that cowbell, it's beat one of every 5-4 bar.
Then I play another clave, which I also developed playing with Danilo Perez, which is in 7-8.
So you have to imagine two bars of 7-8, back to back.
The first bar is 2-3 clave.
So it would go like this.
_ _ _ _ _ _ _ _
_ That's just the first bar. _ _ _ _
_ The second bar turns around into a 3-2 clave.
_ _ _ _ _ So _ _ _ _ _ _ _ _
_ both claves put together, both halves, go like this.
_ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ _ And just like the other clave, when you hear this cowbell, that's beat one of every two bars of 7-8.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Eb] _ _
_ [E] _ _ _ _ _ Clear?
_ _ _ So even though this stuff sounds a little technical and complicated,
_ I try to follow all the same principles that I was talking about before. _ _
Dynamics, orchestration, trying to make the solo into a story.
I don't like to play random, so I really like to develop ideas.
So even though I'm going to be trying to do these things at the same time,
on top I really want to try to play logical, coherent ideas.
And another thing that I do is what I call extreme independence,
which is I let go of my lower body playing the clave,
and then I can play stuff in another time or another tempo on top.
Something like this. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ [Eb] _ _ _ _ _ _ _
_ _ [Ab] _ _ _ _ _
So what I like about that is that I like to hear counterpoints to whatever I'm playing [D] down here,
with what's going on up here.
Like if I was a piano player and I had my left hand free to do like an ostinato,
and then I could play out of time with my right hand,
and playing some melodies that do some kind of answer to what I'm playing on my left hand,
which would be the equivalent of my lower body.
And another thing I like to do is kind of trying to play melodies with the cabels.
Like something like this.
While playing the clave on the hi-hat, if I hit with my heel this bell,
and then the other bell with my other heel at certain points,
then I can hear a melody happening, like this.
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
[D] _ _ [N] _ _ So then I hear_
_ _ _ _ _ _ _
And then if I do that and then play some stuff on top that goes with that,
then I start getting a feeling that is like a little orchestra, mini orchestra.
So these are some of the things that I like to try to do whenever I'm playing a solo like this.
So this tune is The Gathering Sky. _ _ _
_ _ _ I'm gonna play another tune.
This is also from the Padme Thinic group and this is called the Gathering Sky.
It has like a _ West African vibe to it, that's how it starts.
And then it goes like into _ 3-4 samba, sort of, when the guitar solo starts.
And that samba goes sort of like this. _
1-2-3, 1-2-3. _ _ _ _
_ [B] _ _ _ [Eb] _ _ _ _
_ _ _ _ _ _ [D] _ _
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ [B] _ _ _ _
_ [Bb] _ _ _ So the whole guitar solo is developed over this section.
And then at the end of this tune, whenever we used to play it live, I used to do a drum [D] solo, an open drum solo.
And that's also what I'm gonna do here.
But I'm gonna explain a little bit what I'm gonna do so you can follow.
_ Most of it is gonna be based around clave.
The 4-4 clave, which is like a 3-2 rumba clave, which goes like this. _ _ _ _ _ _
_ _ _ _ _ So that's one.
Another one that I do is the 5-4 clave that I did previously.
Only this time I have another cowbell right next to my right foot.
And I play beat number one of each 5-4 bar on that one.
It goes like this.
So _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ _ _ [D] _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ every time you hear that cowbell, it's beat one of every 5-4 bar.
Then I play another clave, which I also developed playing with Danilo Perez, which is in 7-8.
So you have to imagine two bars of 7-8, back to back.
The first bar is 2-3 clave.
So it would go like this.
_ _ _ _ _ _ _ _
_ That's just the first bar. _ _ _ _
_ The second bar turns around into a 3-2 clave.
_ _ _ _ _ So _ _ _ _ _ _ _ _
_ both claves put together, both halves, go like this.
_ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ _ And just like the other clave, when you hear this cowbell, that's beat one of every two bars of 7-8.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Eb] _ _
_ [E] _ _ _ _ _ Clear?
_ _ _ So even though this stuff sounds a little technical and complicated,
_ I try to follow all the same principles that I was talking about before. _ _
Dynamics, orchestration, trying to make the solo into a story.
I don't like to play random, so I really like to develop ideas.
So even though I'm going to be trying to do these things at the same time,
on top I really want to try to play logical, coherent ideas.
And another thing that I do is what I call extreme independence,
which is I let go of my lower body playing the clave,
and then I can play stuff in another time or another tempo on top.
Something like this. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ [Eb] _ _ _ _ _ _ _
_ _ [Ab] _ _ _ _ _
So what I like about that is that I like to hear counterpoints to whatever I'm playing [D] down here,
with what's going on up here.
Like if I was a piano player and I had my left hand free to do like an ostinato,
and then I could play out of time with my right hand,
and playing some melodies that do some kind of answer to what I'm playing on my left hand,
which would be the equivalent of my lower body.
And another thing I like to do is kind of trying to play melodies with the cabels.
Like something like this.
While playing the clave on the hi-hat, if I hit with my heel this bell,
and then the other bell with my other heel at certain points,
then I can hear a melody happening, like this.
_ _ _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
[D] _ _ [N] _ _ So then I hear_
_ _ _ _ _ _ _
And then if I do that and then play some stuff on top that goes with that,
then I start getting a feeling that is like a little orchestra, mini orchestra.
So these are some of the things that I like to try to do whenever I'm playing a solo like this.
So this tune is The Gathering Sky. _ _ _