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D 0 Df0`D 0Df0DI EF @GC0GD0 HI0@H0I.!I."I. @JA K) KI @KF Kf0K 0Lf0@L) Lf0@Mf0NC0@OD0OI0O0PQf0@Rf0RF S Sf0`S 0Sf0Tf `Tf0Tf0@Uf @VC0VD0 WI0@W0XCX`Yf0Yf0@ZF Z Zf0Z [f0[f [f0@\f0\f ]C0@^D0^I0^0_C``f0@af0aF b bf0`b bf0cf `cf0cf0@df @eC0eD0 fI0@f0gCg`hf0hf0@iF i 0if0i 0jf0jf jf0@kf0kf lC@mD0mI0m0nf of `oI o oI oI pI pI pi qi `qi qi ri @rD>rI>r0sF>uF0 vF vF vI w ! wI @wI wI xI `xi xi xi @yi yi yD> zI>@z0zF>@}F0}F ~ D `~ I ~ !~ I  I  I  I f ` i i i D0 I0 0@ F0 F0 F D I  !@ I I I ` I f i @ i i D0` I0 0 F0 F0F F @ I I F f `f f @f.D0I00@C dG(MIii iI`iI I@I@@IaU@O`0^   C VIC VIIMTambora.....................................................................0Tambora........................................Play near the bridgePlay near the fretboardPlay in the normal location&Play really high toward the fretboard Like the vast majority of folks that know this tune on the guitar, my first contact was Chet Atkin's version on his 1973 RCA LP "Alone". Chet gives credit to Jorge Morel as the arranger of this piece originally made famous by Paul Desmond and Dave Brubeck. I accepted Chet's version as gospel and fell in love with it. A few years later, I attended a rare concert by Jorge Morel and he played this tune. In the concert he mentioned that Chet had recorded it, but what he played was just amazing. Recently I mentioned this concert to a friend, Bill Anderson, who told me he had a recording of Morel's with Take Five and a handwritten manuscript of it. Upon receiving it, I made a TEF from it and decided to check it against the recording. Sure enough, there were lots of differences. This TEF reflects the transcription of the recording. Take Five is written in 5/4 time and is probably the most popular tune written in that time ever. If one isn't familiar with playing in less common times, it make take some getting used to. I think of it as the combination of a jazz waltz measure, then a march measure. Note the use of staccato chords. Notes: Measure 5: If playing the E's on the 5th string, 7th fret are just too difficult, play the open 6th string instead. Morel plays them with a barre on the 6th string and the 2nd finger on the E. Then he slides the barre up to the 7th fret. Note that Morel then plays a G then another G an octave lower. Chet played this measure quite a bit differently including a E instead of the lower G. Morel plays this measure the same way in all of the repeats of it. Measure 20: Be sure to let all the notes ring beyond their written duration. As the midi doesn't know the difference between an open B and a B on the 4th string, notating ringing will cause a midi error and distorted playback. Measures 29 - 31: These measures are the exact same notes, but Maestro Morel gets variation by playing Ms. 29 near the bridge, then Ms. 30 near the fretboard, and Ms. 31 in his normal location. Measure 35: For some unknown reason Morel slows down at the beginning of this measure. Measure 37: Morel's back to the original tempo. Measure 48: This is the classical guitar effect called "Tambor" or in Spanish as Maestro Morel called it "tambora". It's made by striking the bridge with the side of the thumb and letting the sympathetic vibrations sound. Note between the tambora effects, Morel brushes up with his i finger. Interesting technique. Measure 61: Maestro Morel plays this one measure very high toward the fretboard with his righthand, even higher than in Ms. 30. If you've gotten this far, then the rest of the tune shouldn't provide any additional problems. cw %).38 %).38Classical Guitar