--12----------8----6----5------3--------------10--|
--15----15----6---------5------3--------6------8--|
--14----------6---------5------4--------8------8--|
--------------5---------0------3--------8------8--|
--13----------0----------------4---------------8--|
---0------------------------------------8---------|
----------------------5--6----8----5-----(0)------|
--5----------5--6--8----------6-----------8-------|
--7----7--6-------------------6----------10----10-|
--7---------------------------5----------10-------|
------------------------------0-------------------|
--6--------------------------------------10-------|
SIbM7b5 LA7#5#9 REm11
-------8---------7----5--------13-----------------|
-------8----9----5-------------10----14-----------|
-------7---------5-------------10-----------------|
-----------------5--------0----10-----------------|
-------7---------0--------------------------------|
--0-----------------------------------------------|
MI7#9#5 LAm9 REm7
repeat from the beginning once or twice, at this
point, and then move down to the final tab-block
to end
--12--------8----6-----5--|
--15----15--6----------5--|
--14--------6----------4--|
------------5----------3--|
--13--------0-------------|
---0----------------------|
SIbM7b5 LA7#5#9 REm6+9
end.
When playing the song, if possible I subsitute an
open string for a fretted note, because it sounds
better, in my opinion.
For instance, on that A7#5#9 you see up above, the
note on the fifth string could be fretted. If it
were, the number would be a "5", for the 5th fret
(as opposed to 0, signifying an open string).
But for reference purposes, below I've notated the
chords with all their notes fretted. This way, the
diagrams below are movable shapes that can be
played based on any note.
Bottom line corresponds to bass string. Numbers on
frets correspond to finger. X means don't play
that string. Number under first diagramed fret
indicates the fret number on the guitar.
Here are the chords used in the song. When you fret
them, the melody note is accessible.
----1--|-------|-------|-------|
-------|-------|-------|----4--|
-------|-------|----3--|-------|
X-------|-------|-------|-------|
-------|----2--|-------|-------|
X-------|-------|-------|-------|
BbM7b5 (B-flat, major 7, flat 5)
For "Blue and Green", I include the open bass E
string in the strum, since it's the flatted 5th
of the chord, and making it the lowest note
makes it all sound spookier ^____^
-------|----3--|-------|----4--|
-------|----3--|-------|-------|
-------|----3--|-------|-------|
----2--|-------|-------|-------|
X-------|-------|-------|-------|
----1--|-------|-------|-------|
A7#5#9 (A 7, sharp 5, sharp 9)
For "Blue and Green", I play the open 5th
string instead of fretting the 6th string at
the 5th fret. Your decision. But the shape
above is useful rooted on any note.
-------|-------|----3--|
-------|-------|----3--|
-------|-------|----3--|
----1--|-------|-------|
-------|-------|----2--|
X-------|-------|-------|
Dm9 (D minor 9)
Same story for this one: the chord notated
above isn't fretted the same way in the tab.
Play it any way you want, as long as the chord
sounds right and the melody note is accessible
somewhere in the shape. When I look at it, I
realize that I'm leaving out the minor 3rd
when I play it as the tab indicates. Hmm.
-----1-|-------|
-----1-|-------|
-----1-|----3--|
-----1-|-------|
-----1-|----2--|
X-------|-------|
3
Db7b9b5 (D-flat 7, flat 9, flat 5)
X-------|-------|-------|
----1--|-------|-------|
-------|-------|----4--|
-------|-------|----3--|
X-------|-------|-------|
-------|-------|----2--|
6
Cm11 (C minor 11)
----1--|-------|----3--|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|-------|
X-------|-------|-------|
F13 (F 13) <--- retarded
X-------|-------|-------|-------|
----1--|-------|-------|-------|
-------|-------|----4--|-------|
-------|-------|----3--|-------|
X-------|-------|-------|-------|
-------|----2--|-------|-------|
5
BbM7b5 (B-flat, major 7, flat 5)
This time, it's rooted on the 6th string.
-------|----4--|
-------|----3--|
----2--|-------|
X-------|-------|
----1--|-------|
X-------|-------|
7
E7#9#5 (E 7, sharp 9, sharp 5)
Again, with this one, you could probably let
both of those open srings ring out, but this
is only because the 7#9#5 chord happens to be
rooted on E.
----1--|-------|----4--|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|----3--|
----1--|-------|-------|
5
Am9 (A minor 9)
Different in the tab.
----1--|-------|-------|----4--|
----1--|-------|-------|-------|
----1--|-------|-------|-------|
----1--|-------|-------|-------|
----1--|-------|----3--|-------|
----1--|-------|-------|-------|
10
Dm7 (D minor 7
Different in the tab.
--12----------8----6----5------3--
--15----15----6---------5------3--
--14----------6---------5------4--
--------------5---------0------3--
--13----------0----------------4--
---0------------------------------
...
-|------------10--|
-|------6------8--|
-|------8------8--|
-|------8------8--|
-|-------------8--|
-|------8---------|
SIbM7b5 LA7#5#9 REm9 DO#7b9b5 DOm11 FA13
----------------------5--6----8---
--5----------5--6--8----------6---
--7----7--6-------------------6---
--7---------------------------5---
------------------------------0---
--6-------------------------------
...
-|-5-----(0)------|
-|--------8-------|
-|-------10----10-|
-|-------10-------|
-|----------------|
-|-------10-------|
SIbM7b5 LA7#5#9
-------8---------7----5--------13-
-------8----9----5-------------10-
-------7---------5-------------10-
-----------------5--------0----10-
-------7---------0----------------
--0-------------------------------
...
-|----------------|
-|---14-----------|
-|----------------|
-|----------------|
-|----------------|
-|----------------|
repeat from the beginning once or
..twice, at this
point, and then move down to the
..final tab-block
to end
--12--------8----6-----5--|
--15----15--6----------5--|
--14--------6----------4--|
------------5----------3--|
--13--------0-------------|
---0----------------------|
SIbM7b5 LA7#5#9 REm6+9
end.
When playing the song, if possible
..I subsitute an
open string for a fretted note,
..because it sounds
better, in my opinion.
For instance, on that A7#5#9 you
..see up above, the
note on the fifth string could be
..fretted. If it
were, the number would be a "5",
..for the 5th fret
(as opposed to 0, signifying an
..open string).
But for reference purposes, below
..I've notated the
chords with all their notes
..fretted. This way, the
diagrams below are movable shapes
..that can be
played based on any note.
Bottom line corresponds to bass
..string. Numbers on
frets correspond to finger. X
..means don't play
that string. Number under first
..diagramed fret
indicates the fret number on the
..guitar.
Here are the chords used in the
..song. When you fret
them, the melody note is
..accessible.
----1--|-------|-------|-------|
-------|-------|-------|----4--|
-------|-------|----3--|-------|
X-------|-------|-------|-------|
-------|----2--|-------|-------|
X-------|-------|-------|-------|
12
BbM7b5 (B-flat, major 7, flat
..5)
For "Blue and Green", I include
..the open bass E
string in the strum, since it's
..the flatted 5th
of the chord, and making it the
..lowest note
makes it all sound spookier
..^____^
-------|----3--|-------|----4--|
-------|----3--|-------|-------|
-------|----3--|-------|-------|
----2--|-------|-------|-------|
X-------|-------|-------|-------|
----1--|-------|-------|-------|
A7#5#9 (A 7, sharp 5, sharp 9)
For "Blue and Green", I play
..the open 5th
string instead of fretting the
..6th string at
the 5th fret. Your decision.
..But the shape
above is useful rooted on any
..note.
-------|-------|----3--|
-------|-------|----3--|
-------|-------|----3--|
----1--|-------|-------|
-------|-------|----2--|
X-------|-------|-------|
3
Dm9 (D minor 9)
Same story for this one: the
..chord notated
above isn't fretted the same
..way in the tab.
Play it any way you want, as
..long as the chord
sounds right and the melody
..note is accessible
somewhere in the shape. When I
..look at it, I
realize that I'm leaving out
..the minor 3rd
when I play it as the tab
..indicates. Hmm.
-----1-|-------|
-----1-|-------|
-----1-|----3--|
-----1-|-------|
-----1-|----2--|
X-------|-------|
Db7b9b5 (D-flat 7, flat 9, flat
..5)
X-------|-------|-------|
----1--|-------|-------|
-------|-------|----4--|
-------|-------|----3--|
X-------|-------|-------|
-------|-------|----2--|
6
Cm11 (C minor 11)
----1--|-------|----3--|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|-------|
X-------|-------|-------|
F13 (F 13) <--- retarded
X-------|-------|-------|-------|
----1--|-------|-------|-------|
-------|-------|----4--|-------|
-------|-------|----3--|-------|
X-------|-------|-------|-------|
-------|----2--|-------|-------|
5
BbM7b5 (B-flat, major 7, flat
..5)
This time, it's rooted on the
..6th string.
-------|----4--|
-------|----3--|
----2--|-------|
X-------|-------|
----1--|-------|
X-------|-------|
E7#9#5 (E 7, sharp 9, sharp 5)
Again, with this one, you could
..probably let
both of those open srings ring
..out, but this
is only because the 7#9#5 chord
..happens to be
rooted on E.
----1--|-------|----4--|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|-------|
----1--|-------|----3--|
----1--|-------|-------|
Am9 (A minor 9)
Different in the tab.
----1--|-------|-------|----4--|
----1--|-------|-------|-------|
----1--|-------|-------|-------|
----1--|-------|-------|-------|
----1--|-------|----3--|-------|
----1--|-------|-------|-------|
Dm7 (D minor 7
Different in the tab.
Tablature chitarra di MILES DAVIS Blue In Green Skitarrate per suonare la tua musica, studiare scale, posizioni per chitarra, cercare, gestire, richiedere e inviare accordi, testi e spartiti