Steve Eckels Global Adventures For Fingerstyle Guitarists

MB21458BCD
CD
IN
ED!
Mel Bay Presents
CLUD
by
MEL BAY PUBLICATIONS, INC. #4 INDUSTRIAL DRIVE PACIFIC, MO 63069
21458BCD-cover.indd 1
1/27/10 8:40:30 AM
CD contents
1
2
3
4
5
6
7
8
9
10
11
12
Los Angeles
Havana
Buenos Aires
Monterrey
San Juan
Rio de Janeiro
El Paso
Valse Espanola
Chihuaha
Cuba: Mambo Cubano
Africa: Afro Groove
Carribean: Jamaican Beach Party
13
14
15
16
17
18
19
20
21
22
23
Carribean: Reggae Dance Party

Celtic: Star of the County Down
Cuba: Cafe Americano
Indian: Tea and Spices
Japan: Japanese Garden Song
Mexico: La Bamba
Middle East: Circle Dance
Peru: El Condor Pasa
Russia: Gypsy Love Song
South Africa: Festival Africana
India: Street Dance
1 2 3 4 5 6 7 8 9 0
2010 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069.
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Table of Contents
Introduction................................................................2
Los Angeles................................................................3
Havana ......................................................................8
Buenos Aires ............................................................10
Monterrey ................................................................13
San Juan ..................................................................16
Rio de Janeiro ..........................................................20
El Paso ....................................................................23
Valse Espanola ........................................................26
Chihuaha ..................................................................30
Cuba: Mambo Cubano ............................................32
Africa: Afro Groove ................................................36
Carribean: Jamaican Beach Party ............................38
Carribean: Reggae Dance Party ..............................40

Celtic: Star of the County Down ............................42
Cuba: Cafe Americano ............................................44
Indian: Tea and Spices ............................................46
Japan: Japanese Garden Song ..................................48
Mexico: La Bamba ..................................................50
Middle East: Circle Dance ......................................52
Peru: El Condor Pasa ..............................................54
Russia: Gypsy Love Song........................................56
South Africa: Festival Africana ..............................58
India: Street Dance ..................................................60
About the Author ....................................................63
Introduction
Music has the power to reflect the spirit of a place in a unique way.
I believe in the axioms that if you want to learn about history - listen to the music of that time and place. If
you want to learn about the cultures of places around the globe, listen to the music from these places. For
these reasons music educators have a unique ability to enhance students understanding of history and cultures,
diversity, integration and ideally peace through music.
As the world changes so does its music. This book is a reflection of that process. The songs contained within
these pages may be considered derivatives. When you hear them they will sound familiar because they have
been derived from many of the best loved songs from around the globe. And yet, they are all strikingly original. In short they are classically crafted interpretations of the global-pop genre. Originally the material presented here was written for two books: Latin American Music Made Easy and World Music Made Easy. Upon
reflection it was apparent that combining the two books would lead guitarists to Global Adventures for
Fingerstyle Guitar.
I have crafted these arrangements to be playable by students in my high school guitar classes. The clarity and
simplicity of the notation may be compared to the works of Fernando Sor (1778-1839), one if the great teachers of guitar in the early nineteenth century. The musical elements may be compared to works and styles of
Carlos Santana, Yanni, Sergio Mendes, Jose Feliciano, Mason Williams, the Beatles, the Eagles, Klezmer,
Flamenco-pop, Mariachi, Celtic, Russian, Bollywood, Afro-Pop and others. The melodies are all lyrical and
the creative writer is invited to add words to them.
In addition to being guitar solos, the compositions in this book are all groove based and are built upon a
steady and danceable beat. As such they work beautifully when accompanied by percussion or an entire
ensemble. If you use a guitar strap when you play, dont be surprised to find yourself dancing around the
kitchen as you play.
Im certain you will enjoy your global adventure!
Steve Eckels
2
Los Angeles
Track #1
Am
q = 128
4

& 4

P - cresc
T
A
B
1
2
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Last x slower
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b
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w
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3 times getting softer

0
1
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This page has been left blank

to avoid awkward page turns.
Havana
Track #2
Am
Intro
4
& 4 ..
q =118
.
.
T
A
B
E7
1
3
D m7
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1
2
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Buenos Aires
Track #3
Intro
Rubato/Freely
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4
& 4 ..
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rit.
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B
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12
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Monterrey
Track #4
Riff. q = 124
4
& 4 ..
.
.
T
A
B
2
0
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T
A
B
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#

.
D min7
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&
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j
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T
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.
E
^
j # j

& ..
Am
T
A
B
.
.
2
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2
0
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3
4
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2
0
Am
&
3
4
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j # j

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Dm
2
0
gg
gg
gg
J
j
.. ..
(open solo for ending)
T
A
B
Am
Dm
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# #
J (Last x rit.)
0
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1
2
2
3
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3
4
3
4
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1
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4 times, then take Coda
14
2.
..
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3
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1
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0
0
1
2
2
1.
&
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A
B
1
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1
2
1
2
2
3
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B
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3 2
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15
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3
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3
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1
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Coda
w
& gggg www
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A
B
0
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2
2
0
San Juan
Track #5
Prelude
Slowly and Freely
Em
Am
# 4
& 4
7 8 7 5 7
0
0
T
A
B
Em
T
A
B
ggg
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1
2
2
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2
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2
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2
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2
1
2
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A
B
0
0
# b b n
b gggg wwww
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gw
accel.
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7
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6
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5
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4
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12
24
16
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1
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1
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1
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1
B7
Em
harm.
12 3
3
4
. .

.
..
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2
0
2
1
2
2
0
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1
E7
Em
B7
E7sus
Am
&
ggg
ggg
E7
#
&
T
A
B
Am
ggg 00
ggg 02
ggg 20
Introduction
Em
In Tempo q = 136
D7
%
#
& ..
muted
T
A
B
.
.
0
0
0
0
2
C7
2
1
2
1
2
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3
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B
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3
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3
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2
3
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3
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5
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1
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4
3
4

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0
2
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2
0
2
3
0
1
Am
T
A
B
Em
2.
3
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1
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3
n #
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1
2
1
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2
1
0
1
0
Am
# .
& .
T
A
B
3
4
1
2
1
2
1
2
1
2
1
2
1
2
0
harm.
12
OO
O
#
& ggg
ggg
g
0
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0
2
2
0
18
g
gg ggg
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gg #
2
3
3
3
n
#

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C7(9s11)
2
0
2
1
2
0
2
1
0
0
E7
1
2
#

&

w
3
1
2
Em
T
A
B
0
0
gg
gg
gg
ggg #
gg
&
.
T
A
B
Em
3
0
0
B7
Emin
Am
1
2
0
12
12
12
2
1
2
Em
T
A
B
2
0
2
1
.
...
.
>
>
5
0
5
4
0
5
0
5
4
0
Am6
2
0
2
1
2
>
5
0
5
4
0
Em
3
#
&
T
A
B
#w
Fs7( ff 95 )
# b
3
0
0
B7
j
.
C7
&
Csmin7f5
gg #
gg
rit.
T
A
B
2
3
0
3
0
2
1
2
Slower
&
T
A
B
Coda
# ..
& .
w
D.S. al Coda
B7/Fs
3
0
0
T
A
B
Em
0
0
1
2
1
2
0
0
0
2
1
Em
Em
# b b n
b ggg
&
ggg
g
p
accel.
rit.
T
A
B
0
7
0
6
0
5
0
4
0
3
19
0
2
0
1
0
0
0
2
2
0
B7
gg
ggg
2
0
2
1
2
harm.
12
OO
O
Rio de Janeiro
Track #6
q = 128
Intro E
### 4 . .
&
4 . gg ..
gg .
g
.
.
T
A
B
0
1
2
2
0
1
2
Dm
2
3
2
3
2
0
# ..
.
.
4
5
4
0
0
1
2
2
0
%
### .
..
&
.
A
2
1
2
0
F/E
nn
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
2
3
3
0
0
0
1
2
2
0
* Take repeat before going to
0
2
0
1
0
2
0
E
2.
.
.
9
6
20
Dm
1.
6
0
0
0
1
2
2
0
0
2
1
0
0
0
1
0
1
2
2
0
..
n
n n
A Maj7
* To Coda
...
.
~~~~~~~~~~~~~
# # # ..
&
..
.
.
T
A
B
T
A
B
1
3
n j
~~~~~~~~~
j
##
& #
T
A
B
F/E
0
0
1
2
2
0
2
3
Em7
n .
.
J
3
0
0
0
0
0
7
0
0
7
###
&
T
A
B
7
0
0
7
0
0
Dm
1
3
2
0
3
2
0
AMaj7
T
A
B
ggg 021
gg 20
2
1
2
0
###
&
12
0
2
1
2
0
2
3
10
12
10
T
A
B
5
6
0
6
7
0
6
7
0
1
3
0
2
1
2
1
2
0
0
0
7
Dm7
n.
# # # n
&
.

..
.
.
3
5
7
0
0
5
6
AMaj7
.
J
5
6
Em7
gg
gg
gg
2
1
2
T
A
B
n n
5
6
3
2
# # #
& ggg
gg .
10
0
0
0
0
7
8
0
21
10
0
1
0
AMaj7
10
ggg
gg .
0
2
1
2
0
2
1
2
0
2
1
2
0
( 2nd x D.C. al Coda) Dm
# # #
&
T
A
B
0
2
1
2
0
gg
gg
g
gg n ...
gg .
0
2
1
2
0
1
3
2
0
T
A
B
0
0
1
2
2
0
0
1
2
##
& #
T
A
B
5
6
5
6
3
2
0
n ..
.
1
3
D min6
ggg
ggg
g
1
0
2
0
0
0
1
2
2
0
2
3
0
0
1
2
2
0
cadenza adlib.
T
A
B
1
0
2
1
0
2
1
0
2
0
12
10
22
D.S.
Dm6
ggg n
gg
3
2
7
5
Coda
###
&
w
Dm
0
0
1
2
2
0
j
n n
.
gg ...
ggg .
gg
0
1
3
2
# # # g ..
& ggg ..
gg ..
g
El Paso
Track #7
q = 132
Em
Intro
A7
#
&
T
A
B
3
0
3
0
3
0
3
0
3
0
T
A
B
#
&
T
A
B
Em
A7
3
0
2
0
2
0
# j

J
3
0
3
0
0
2
0
A7
# j

J
3
0
0
3
0
0
23
2
0
2
0
#
J
3
3
2
3
3
3
2
3
3
2
1
2
3
0
3
3
2
3
B7# 9
Em
3
0
2
0
3
3
2
3
j

J
3
1
3
1
3
1
Am7
Em
.
.
Em
# j

J
3
0
2
0
A7
Em
&
2
0
C7(9)
j
j
#
.
. b
#
J
.
.
A7
j
# ..
.
J
#
.
& 44 .. .
.
T
A
B
Em
D7
2
1
2
1
Em
3
0
0
To Coda
B7
j

#
J
#
& .
T
A
B
&
1
0
2
3
1
2
1
2
1
2
# ^
#
1
2
#
..

A7
Emin
B7
3
..
.
^j
j
5
7
6
3
5
4
3
5
4
3
5
4
(muted)
T
A
B
.
.
0
E7(13)
1.
& # #

..
.
T
A
B
3
4
4
5
6
6
0
#
&
T
A
B
4 2 0
5
6
6
0
3
5
4
0
^j
j
.
# #

D.S. al Coda
2 4
5
7
6
5
6
6
3
4
4
3
4
4
3
4
4
24
C7(9)
j
.. b

J
.
.
3
3
2
3
3
3
2
3
#
J
3
3
2
3
3
3
2
3
3
3
3
2
B7
3
1
0
2
3
1
2
1
2
1
2
B7s9
j

#
J
2.
B7
Coda
#
& .
T
A
B
5
7
6
0
1
2
B7
j

#
J
#
& .
T
A
B
1
0
2
3
0
1
2
j

#
J
1
2
1
2
1
2
2
2
0

J J
TR
TR
8
7
7
TR
TR
8
7
0
0
0
2
2
0
0
0
0
2
2
0
TL
..
#
J
J J
TR
TR
8
7
.
.
8
7
D.S. al Coda
Tapping...
Coda 2
#
&
T
A
B
ad lib.
Last x
TR
TL
8
7
TL
1, 2, 3.
TL
TL
(ad lib.)
8
7
7
1
2
.
.
(To Coda 2)
TR
T
A
B
1
0
2
3
TR
0
2
# .
.
.
TL
&
0
2
B7
Em
B7
1
2
B7
3
#
&
T
A
B
j
.
TL = Tap Left - Hammer the notes with fingers 2 & 3 of the left hand
TR = Tap Right - Hammer the notes using the index finger of the right hand
25
Em
ggg wwww
ggg w
gw
0
0
0
2
2
0
Valse Espanola
Track #8
Bf/ E
q = 136
A
& b 43 .. #
.
.
.
T
A
B
2
2
2
2
T
A
B
2
2
Dm
..
b
& .
T
A
B
1
3
3
3
A7
# ..
5
6
1
3
0
2
3
5
0
0
5
6
5
6
3
5
.
.
.
Dm/C
.
.
.
2
2
3
5
6
8
..
5
6
3
5
1.
Dm
2
2
2
2
3
3
2
0
3
0
26
.
.
.. #
.
5
6
3
5
#

.
2.
.
.
Bf
..
.
..
j

.
6
8
5
6
3
5
2
2
..
..
.
.
.
j

.
&b
.
T
A
B
3
5
2
2
Bf/ E
#
.
& b # ..
2
2
0
0
0
E7
3
1
..
# .
.
1
3
1
0
1/2 CI
& b # ..
.
T
A
B
1
3
1
%
.. #
.
Bf/ A
.
.
2
2
2
2
2
2
Bf/ A
1.
#
.
2
2
3
3
2
2
2
2
2
2
2
2
3
3
..
.
.
D
2.

& b #
.
# ...
.
.
0
2
2
2
0
2
2
2
0
2
2
2
0
T
A
B
0
2
2
2
0
2
2
2
Bfmaj7
% 2
gg
gg .
g
1
3
2
3
1
CIII
& b
.
T
A
B
0
1
0
2
0
&b
T
A
B
3
3
1
3
3
1
3
2
3
1
A7
0
1
0
2
0
.
.
..
.
6
3
5
8
5
7
Dm
# .
.
3
2
A m7
gg
gg
g .
Dsus
Bf
A7sus
Gm
g
gg
gg
2
0
Dm/C
E/B
.
.
2
3
27
# ..
.
.
#.
n .
0
1
2
Bf7
.
& b b.
b.
T
A
B
To Coda
.
.
.
.
.
T
A
B
.
.
3.
&b
.
2
2
6
6
7
8
8
9
10
10
10
10
10
10
5
5
6
5
5
6
8
8
9
2
2
2
2
Bf/ A
5
5
6
5
5
6
6
6
7
6
0
..
.
.
.
5
5
3
6
6
7
6
6
7
5
5
5
3
3
3
D.S. al Coda
3
5
3
5
Bf/ E
1, 2.
#
.
3
3
2
2
G5
Am
Gm
..
.
p cadenza ad lib.
5
5
5
3
3
3
5
3
0
Bf
..
.
28
2
2
2
2
3
3
3
0
2
2
Bf
6
6
7
rubato
T
A
B
2
2
(three times)
Coda A
& b .. #
.
T
A
B
..
.
.
Bf
&b
A
E
A5
U
.
5
2
A5
..
.
2
2
0
..
.
.

29
Chihuaha
Track #9
G/D
Intro
C/D

# 4 .
& 4 .
.
.
7
8
7
8
8
8
0
8
8
10
10
11
1.
2.
10
10
8
8
# .
& .
j

J
T
A
B
To Coda
.
.
5
j

J
2
3
0
1
1
0
3
4
j

J
7
8
..
Am
7
8
.
.
8
8
#

.
.
.
&

..
T
A
B
G/D
q = 108
T
A
B
C/D
>
j
..
1.
..
.
.
.
B
2.
&
T
A
B
..
.
.
2
3
0
3
0
0
3
j D

2
3
0
* Tap guitar
30
Am
3
4
3
4
3
4
1
2
1
0
3
4
Am
#

&

T
A
B
D/F#
&
T
A
B
.
.
.
3
2
0
3
2
0
0
5
#
& .
T
A
B
j

J
1
0
0
3
j D

w
J
5
3
5
3
5
3
5
3
5
3
3
2
0
3
j j

j
j
3
4
0
0
1
2
..
.
3
j

w
J
5
3
5
3
5
3
5
3
5
3
0
3
J
1
Am
J
3
0
j

J
31
.
.
0
w
w
D.C. al Coda
(with repeat)
2
0
3
0
3
0
4
5
j

J
Coda
G
# gg ww
& ggg ww
ggg ww
T
A
B
j

J
5
3
1
0
..
j

J
#
&
J
0
1
2
3
..
..
.
.
.
T
A
B
1
0
C/E
ggg 30
ggg 00
ggg 23
Cuba: Mambo Cubano
Track #10
Am#5
Am
4
&4
w
B7/A
Freely
T
A
B
U
E
& gg
gg
.
gg
Am/E
Am6
.. #
q = 116
muted bass
T
A
B
.
.
0
1
2
2
0
5
5
4
5
5
4
5
5
4
0
5
5
4
5
5
4
5
5
4
5
5
4
5
5
4
5
5
4
5
5
4
5
5
4
5
5
4
Am
&
T
A
B
Em/G
0
0
1
2
2
0
..
.
~~~
T
A
B
Am
&
Fine
0
1
2
1
2
2
0
1
2
2
1
2
2
Am
1
2
2
1
2
2
0
32
1
2
2
0
Em/G
0
2
Am6
&
poco rit.
T
A
B
5
6
4
5
6
7
..
#
& .
a tempo
5
5
4
0
#
.
5
5
4
5
5
4
Dm6
b .
.
w
5
5
4
5
5
4
5
5
4
5
5
4
muted
5
5
6
T
A
B
5
5
6

&

21
0
T
A
B
0
1
2
2
0
D.C. al Coda Last X
1
0
2
Am
3
0
* last time repeat measures 21-24 and take the Coda.
33
1
0
2
0
To Coda
1
0
2
.
.
1
0
2
0
..
.
.
1
0
2
Am
.
& ggg ...
gg .
2
0
T
A
B
Am
C6
Cmaj7
& #
T
A
B
3
j

2
3
4
5
4
5
4
5
1
3
gg
ggg
.
0
1
0
1
2
2
0
.
.
2
2
3
2
3
2
1
0
2
0
3
2
3
2
3
2
3
2
0
0
1
2
2
0
5
4
5
3
1
2
2
2
2
w
w
8
5
Am 6/9
D.S. al Coda
#
J .
.
2
0
34
Dm
E
j 3 Bm7f5 j 3
. . g
ggg
& gggg .. gg
ggg # .
g
gg
g
ggg ..
1
2
2
1
2
2
Am
#.
& .
1
0
2
0
Am
T
A
B
T
A
B
.
E
j#

& #
w
T
A
B
Bm7b5
C6
Coda
ggg www
& gg # w
g w
T
A
B
ggg
gg
0
0
5
4
0

35
Africa: Afro Groove
Track #11
q = 160
A
A
#
& # 44 ..
4/6 CII
muted
.
.
T
A
B
2
4
1.
2.
..
.
.
2
3
2
3
0
2
0
0
2
j
j
..
.
.
3
5
3
5
0
2
0
2
5
7
0
2
0
5
0
J ..
5
7
3
0
j j
j
3
5
0
2
3.
4/6 CII means to the barre 4 strings at the second fret.
36
3
5
0
2
0
10
7
3
0
.
.
3
5
3
0
D.C. endings and 3

j j
j

0
2
3
5
1.
3
5
j
# #
&
2.
T
A
B
j
j
# #
&
5
7
T
A
B
#

& #
T
A
B
9
9
#

& # ..
1.
j
j
j
.
.
T
A
B
10
7
10
2
3
2
3
3
5
7
8
7
8
10
7
9
9
.
.
3
5
0
2
0
2
3
0
>
5
7
0
j 2. A
To Coda D
j
j
.
j
# #
&
T
A
B
A7
A
#
& # ..
.
.2
&
T
A
B
##
2
2
2.
2
0
muted
T
A
B
4/6 CII
3
4
2
0
D.C. al Coda
ggg
g
2
3
2
0
2
2
37
..

.
.
1.
2
5
Coda
#
& #
T
A
B
3
0
ggg
ggg
g
10
7
7
0
Carribean: Jamaican Beach Party
Track #12
A 4/6 CII
A
q = 152
### 4 .
&
4 .
%
.. ..
.
. .
. .
3
4
2
3
4
5
4 times
.
.
T
A
B
&
# # #
4
5
5
7
7
9
5
7
2
3
4
5
5
7
4
5
2
3
# # . ..
& .
.
.
5
7
0
5
7
5
7
0
3
5
2
3
2
2
3
4
5
6
ggg ....
gg .
gg
ggg
J
gg
ggg
0
5
0
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
3
0
2
5
7
0
38
3
4
To Coda
n
.. # #
.
.
..
5
7
5
7
2
2
0
0
5
2
3
0
5
4
5
5
6
2
2
# # #
&
w
T
A
B
3
4
.
.
5
6
T
A
B
2
2
.
T
A
B
5
7
0
3
5
2
3
#
& #
.
T
A
B
2
3

J
0
2
D
1.
0
2
7
0
0
7
0
0
3
0
0
D.S. al Coda
E7sus
E7
..
ggg
gg .
.
.
2
3
2
0
gg
gg
ggg
g
0
0
2
0
2
0
###
0
0
1
0
2
0
Dm
3

4 times
.
.
2
4
.. gg n .
gg ..
g
.
.
1
0
2
0
w
nw
.
10
10
0
wwA
w
.
Dm/A
9
0
w
### w
&
.
7
0
0
2.
T
A
B
2
3
Coda
##
& # ..
T
A
B
~~~~~~~~~~~~~
# .
& # .
T
A
B
..
39
4/6 CII
12
10
11
0
ggg
g
2
2
2
2
Carribean: Reggae Dance Party
Track #13
q = 144
#

& # 44 .. .
.
.
.
T
A
B
&
T
A
B
##
2
0
..
w
.
.
2
2
# #
&
3
5
5
7
7
8
Em
2
2
ww
w
3
0
0
5
7
3
0
40
5
7
2
3
.
.. .. .
. .
. .
4
5
*2
T
A
B
A7
#
& # w
3
2
4/6 CII
.
.
T
A
B
0
0
3
4
5
To Coda
..
.
.
& #
T
A
B
2
3
& #
T
A
B
2
3
0
2
2
3
2
3
3
5
4
5
7
6
7
8
7
T
A
B
2
3
2
0
. .
. .
5
7
5
7
5
7
2
3
Em/D
2
3
2
3
3
5
2
3
3
5
3
5
0
2
3
5
2
3
0
2
fi
D.C. al Coda
..
gg
gg w
2
3
2
0
.
.
3
0
5
7
6
0
5
7
5
7
5
7
5
7
3
5
2
3
41
0
0
0
rit.
* optional measure
* 2 optional measure
0
2
#
& #
0
2
.. ..*
.
2
3
#
& # w
2
3
T
A
B
3
4
5
Celtic: Star of the County Down
Track #14
This arrangement has been fingered to support

ad lib picking during a repeat.
Em
q = 120
# 3
& 4
T
A
B
T
A
B
7
0
0
3
0
0
0
0
0
#
&
.
0
0
5
4
0
0
1
0
.
.
.
4
2
4
2
Em
3
0
0
5
3
2
0
5
3
2
0
7
0
0
0
1
0
0
0
2
..
.
3
2
5
4
5
4
10
8
0
10
10
8
0
9
10
Em
5
3
2
0
0
0
0
42
Em
ggg .
gg .
10
gg ..
ggg .
Am
Bm
..
.
Bm
T
A
B
.
.
T
A
B
#
& ..
.
..
.
Em
#
& ..
.
#
& ..
.
T
A
B
7
0
0
T
A
B
3
0
0
4
2
4
2
5
3
2
0
5
0
3
0
.. * j
.
2
4.
..
.
.
7
5
0
1
0
Bm
Em
..
.
ggg ..
ggg ..
g .
5
4
2
2
0
Em
.
.
Am
0
0
2
0
5
4
2
2
0
# .
& .
Em
gg
gg .
1, 2, 3.
T
A
B
.
.
.
# .
& ggg ..
gg .
gg .
T
A
B
#
& gggg
.
0
1
0
Bm
j
.
5
3
3
1
0
0
43
Aadd9
* measures 34-37 may also be used as introduction.
3
0
ggg ...
gg ..
0
0
2
2
0
ggg ...
gg ..
0
0
2
2
0
Cuba: Caf Americano
Track #15
q =120
Am
4
& 4 ..
Am
E7
Play 3 times
#
.

.
J
F7
3
.. b
muted
.
.
T
A
B
& #
1
2
.
.
T
A
B
% Am
B
.
.. .
1
0
F7
& b
2
1
2
1
2
3
(2)
E7
To Coda
Am
2
2
0
1
2
1
3 #
2
1
..)
44
Bm7b5
1
2
1
2
Am
0
1
2
1
2
.
.
E7
Am
F
3
&
1.
Bm7b5
.
.
Am
2
0
1
0
0
1
2
0
2
1
E
3
T
A
B
T
A
B
0
3
1
1
2
2.
..
.
.
.
2
2
0
2
2
0
2
2
0
Dm6
3
&
T
A
B
2
2
2
2
gg
ggg .
5
6
4
0
5
6
4
2
2
0
5
6
4
5
6
4
Dm6
3

& ggg #
gg .
0
0
5
4
0
0
0
5
4
0
0
5
4
0
0
5
4
0
B7
& #
#
.
ggg ..
gg .
5
6
4
0
U
w
D.S. al Coda
rit.
T
A
B
1
0
Coda
Am
& ..
Am6
9
E7
Play 3 times
#
.
..
w
J
ggg
gg #
muted optional
rit. last time
T
A
B
.
.
0
1
2
0
3
1
1
2
3
45
.
.
3
E7aug
E7
Am6
T
A
B
5
0
5
4
India: Tea and Spices
Track #16
Rubato
6=D
4
&4
T
A
B
3
5
0
0
7
8
5
7
.
gg w
ggg ww
gg w
ad lib.
10
10
0
0
0
8
9
.
.
g
g
& gg
ggg
gg .
5 7
0
0
7 7
0
0
7
0
0
5
5
0
0
0
U
m
b
ggg ww .
gw
2
0
0
0
5
5
7
8
6
7
5
5
7
8
5
7
.. mw
ww
w
3
2
0
0
0
.
.
2
0
0
0
Dm ad lib.
..
.
.
8
0
0
5
7
8
9
0
0
0
..
sim.
2
7
0
0
.
ggg w
gg
ggg .

J
J
10
10
8
9
3
5
0
5 3
0
7
8
5
7
.
.
3
5
* optional strum strings 6,5,3 during this section.
46
7 7
0
0
7
0
0
8
0
0
5 6 5
5
0
To Coda
3 times
5 7
0
0
6
7
^ >
b b . n b .
w
. b

.
J
J
6
7
2.
gg ww
gg w
g
8
9
0
5
0
0
6
7
gg
gg w
ggg w
gw
1.
3
5
% ad lib.
>
& .. g b
ggg

g
T
A
B
q = 108
Tempo - 3 times
T
A
B
.
.
- -
& g b
ggg
g
T
A
B
m Dm
.
.. ggg .
gg w
gg w
gg w
..
ggg

g
.
.
5 7
0
0
7 7
0
0
7
0
0
Fine
Dm
g w.

.
gg w
& .. .
muted
.
.
T
A
B
1
0
3
1
0
1
0
1
0
1
0
1
0
3
3
2
0
0
0
3
2
3
2
Am
F
T
A
B

. . .
. . .
.
& .
gw
gg w
3
2
0
0
0
3
2
3
2
. .
. .
2
0
Dm
.
& .
.
.
T
A
B
Dmin
5
6
0
3
5
1
3
1
3
5
6
0
3
5
1
3
2
0
Am

.. .. .. b
.
. .
. .
..
.
.
1
3
47
5 7
0
0
7 7
0
0
0
0
Coda rit.
&g
ggg
g
T
A
B
. b
.
.
D.S. al Coda
2
0
0
Cadenza ad lib.
~~~~~~~~
.
T
A
B
..
..
0
3
3
0
0
0
3
2
0
0
0
~~~~~~~~~
&
.
.
.
Japan: Japanese Garden Song
Track #17
q = 112
Em
A
# 4 .
& 4 .
w dolce-pont.
.
.
T
A
B
&
.. ..
w
. .
. .
Emin
Em
Bm
5
4
5
2
1
2
1
Em
4
5
4
5
3
2
Em
gg
ggg
gw
gg
P
5
4
5
Am
.. ..
w
. .
. .
3
0
3
0
2
1
2
1
Em
&
w
0
0
Am
Em
7
0
0
0
0
# w
& w
T
A
B
Am
T
A
B
w
T
A
B
Em
Am
3
0
0
0
2
1
3
0
48
To Coda
.. n
( )
.
.
( 0)
Am
Gm/D
&
T
A
B
.. gg
ggg
.
p cresc.
.
.
0
1
2
3
2
3
Am
0
2
3
1
2
2
0
Dm/A
Am
ggg
gg .
0
1
2
2
0
0
2
3
Am
Dm/A
3
2
3
ggg
2
2
0
2
2
0
0
2
3
0
..
.
.
Am
Em
Am
.
& .
T
A
B
.
.
3
0
5
0
T
A
B
2
2
0
Am
gg
&
w
T
A
B
5
5
5
0
. .
. .
2
2
0
gg
E7
8
5
8
5
7
6
0
1
2
2
0
0
..
.
.
5
5
5
5
Coda
harm.
12
&
T <12>
A
B
E7
Am
7
6
0
12
5 2 3
<12>
<12>
<5 >
49
12
gg
3
2
3
8
5
D.C. al Coda
Am
2
5
5
5
Dm
ggg
gg
w
.
F
.. ..
.
Am
Am
& g
gg
Am
12
E7
<5 >
7
6
0
12
<12 >
<12 >
<12 >
<12 >
Mexico: La Bamba
Track #18
(Vera Cruz Folk Song)
q = 138
4
& 4 ..
1, 2, 3.
4.
..
w
Play 4 times muted
.
.
T
A
B
& ..
C
j j

.
.
1, 2, 3.
4.
.. ww

w
Play 4 times
.
.
T
A
B
2
0
T
A
B
.
.
0
1
2
0
1
0
0
0
0
G
To Coda
..
.. # # ..

Play 4 times
.
.
.
.
0
2
* see optional measure
50
j
..

3
0
0
0
3
%
j
&
.
.
.
1
0
2
3
0
0
*
.
.
&
.
.
1
2
T
A
B
0
1
0
..
.
1
0
j
..

1, 2, 3.
2
0
.
.
0
0
..
A
4.
##
&
w
..
j j

1, 2, 3.
..
w
Play 4 times
T
A
B
.
.
2
2
#
& #
2
3
..
.
## .
& .
..
.
.
3
2
0
A7
..
.
0
0
3
0
2
j

.
G
4
j Aj

J
jG

.
.
2
0
2
0
T
A
B
ggg www
.. gg
gg w
.
.
Coda
#
& #
D.S. al Coda
j j

..
0
2
J
1
3
0
T
A
B
#
& #

T
A
B
2
0
* optional measure
.
.
* optional measure
T
A
B
.
.
2
3
2
0
2
3
2
0
3
0
3
3
0
5
2
0
5
2
5
2
3
0
5
2
0
51
.
.
10
7
7
5
1
0
2
3
4
2
0
1
0
0
3
Middle East: Circle Dance
Track #19
Start slowly and gradually get faster
E
j
4
.. ..
& 4 .. #
w #
g
gg w
4 times
no mute ad lib.
E
g # w
gg w
gg w
0
0
1
2
mute
.
.
T
A
B
0
1
0
1
0
1
3
. .
. .
0
1
2
2
2
0
0
1
2
2
0
1
2
4
4
F/E
& gg # www
ggg w
g .
T
A
B
0
1
2
2
0
..
ggg
gg w
g
.
.
ggg 12
gg 33
g0
F/E
& g # ww
ggg .
g .
T
A
B
1
2
2
0
1 0
0
2
3
3
0

ggg w
gg w
0
2
3
3
0
&
ggg
g .
T
A
B
2
2
0
gggg #
ggg
ggg
ggg
g
0
1
0
2
2
0
0
0
0
2
2
0
.
j .. .
.
.
52
j #.
.
4
0
2
3
3
0
4
5
0
#
w
w
Dm/E
7
9
0
E
E
ggg
ggg w
g
2
0
1
3
0
j
#
1
0
3j
0
0
7
0
Dm
&
.
..
.
7
5
4
Bass sim.
5
6
T
A
B
..
& .
gg # ww
gg w
gg w
j
#
1
3
2
0
0
0
1
2
2
0
0
0
0
2
2
0
&
T
A
B
>
&
3
0
2
0
>

2
2
>

2
2
3
3
0
3
3
Am
j 2.
..
gg ....
ggg
g
1.
gg
g
ggg 01
gg 22
g0
2
2
0
>

1
2
1
2
2
3
1
2
.
w
.
.
>
#
j
#
2
2
0
4
5
Am
2
2
0
>
#
2
2
0
>

0
1
2
0
1
2
D.C.
1
2
3
1
2
3
Dm6
0
1
2
0
~~~~~~~~~~~~~~
>
>
7
5
4
>
j
j # ..
.
.
..
w
..
..
.
0
0
1
2
2
0
Dm/E
T
A
B
rit.
cadenza ad lib.
T
A
B
0
0
1
0
0
0
1
0
1
1
2
0
0
1
3
5
4
0
4
5
4
0
5
6
5
0
5
6
5
3
5
4
0
53
7
9
8
10
7
8
0
0
0
1
2
2
0
Peru: El Condor Pasa
Track #20
(Andes Mountain Song)
q = 104
A Em
#
& 44
muted
T
A
B
&
&
T
A
B
2
3
7
0
0
0
12
0
12
10
0
0
7
0
12
10
Em
#
&
.
.

.. #
T
A
B
Em
Am
T
A
B
0
0
Em
0
0
54
0
0 2
0
0
&
T
A
B
0
0 2
.. ..

. .
. .
#

&

T
A
B
&
3
0
3
&
T
A
B
0
3
.
.
0
0
1
2
55
Em
gggg
ggg

0
0
C/B
0
0
0
0
0
0
C/B
0
0
Am
..

C/B
0
3
Em/D
2.
1.
Em
T
A
B
ggg 00
ggg 02
ggg 20
Russia: Gypsy Love Song
Track #21
(Dark Eyes)
Intro
q = 132
Am
A
4
&4
T
A
B
Dm
J
.
J
J
0
1
0
1
0
1
0
1
2

& . #
J
0
0
1
.
J
0
1
4
4
1
2
#
.
10
56
Am
Am

&
w
5
Dm/A
E7
T
A
B
ggg 01
gg 22
gg 0
E7
ggg ....
ggg .

&
#

w
T
A
B
Am
T
A
B
5
5
5
0
Dm
Am

& .
T
A
B
T
A
B

#

w
1
5
5
5
0
1
2
2
0
#
#
(repeat only twice first through)
#
J
.
0
2
0
0
5
4
0
0
5
4
0
0
5
4
Am
4.
.
& ggg ...
gg w
T
A
B
0
1
2
2
0
j
#
10
13
12
0
0
0
4
13
12
rit.
57
j
gg gg
ggg gg
g gg
1, 2, 3.
.
.
0
0
Am6
T
A
B
& .. #
. muted J
..
.
w
Am
E7
&
0
0
5
4
0
1
2
2
0

..

0
0
5
4
ggg www
ggg # w
gw
5
0
5
4
0
0
0
5
4
0
0
5
4
.
.
South Africa: Festival Africana
Track #22
G7
Slow
4
& 4 ..
P -F
.
.
T
A
B
0
1
0
3
4
2
0
3
0
0
1
0
1
0
2
3
4
&4
In Tempo q = 160
C
.
.
1
2
2
0
..
.
.
3
0
0
1
0
1
0
3
4
1
0
2
3
0
0
1
0
3
0
4
4
.
.
..
1
2
.
.
0
3
58
..
..
.
.
0
0
& ..
.
0
.
.
T
A
B
& ..
muted
T
A
B
3
4
1
0
2
3
4
4
G7
0
1
0
T
A
B
0
2
3
&
.
T
A
B
& ..
.
.
& 44
0
1
0
3
34
1
0
2
3
0
1
0
3
2
0
1
0
2
3
43
2
3
.
.

.
0
.
3
D.S. al Fine
.
.
.
.
44
0
0
0
0
59
.
.
0
1
0
0
2
2
0
3
0
.
.
.
.
& 44
G7
Slow
T
A
B

&
T
A
B

.
0
T
A
B
T
A
B
43
1
0
2
3
0
0
1
0
3
0
3
2
8
7
.
.
8
9
ggg ...
.
ggg 102
g3
44
Fine
India: Street Dance
Track #23
With each D.S. play the

First ending: 1-2,1-3,1-4,1-2
q = 116
7 times
A muted
.
.
T
A
B
6
0
9
7
0
7
0
7
0
6
0
>
7
0
7
0
..
.
.
7
0
#
.
6
0
7
0
7
0
# #
#
~~~~~~
4
& 4 .. #
.
>
n
.
7
0
gg 00
ggg 34
gg 4
7
0
F # (riff)
T
A
B
# #
#
>
0
3
4
4
2
T
A
B
0
0
0
2
2
0
2.
&
..
.
..
T
A
B
0
0
1
2
2
7
1
2
2
0

>

ggg 00
ggg 02
g2
#
C F /E
.. # .
.
.
.
1.
..

>
>
# # #
0
1
0
1
60
ggg 00
gg 12
gg 2
ggg 00
ggg 34
g4
3
4
0
.
# ...
.
.
.
.

>
~~~~~~~~~

>
~~~~~~
..
..
.
.
ggg 01
gg 34
gg 4
&
..
..
.
# ..
strum ad lib.
16th note feel
.
.
~~~~~~~~~~

>
~~~~~~~~~~
%
& .. # ....
# .
B
0
1
0
F #/E
# ..
j
#
3
4
0
0
1
0
1
4
4
0
F #/E
To Coda
j
#
.

&

F #/E
B
to
3.
with 3rd ending
j
.. # ...

# ..
..
T
A
B
2
3
0
F #/E
D
& ..
0
1
4
4
0
2
3
F #/E
j E
#
# ..
.
.
T
A
B
0
1
j E
#
# ..
.
.
0
1
0
F #/E
j E
#
# # ..
6
7
6
7
9
11
7
9
7
9
7
9
0
9
11
0
7
9
7
9
F#
7
9
7
9
11
to B
with 4th ending
.. # ...
..

.
4.
0
0
1
2
2
0
F#
.
.
0
2
2
0
4 3
11
.
.
7
9
7
9
68 .. #
7
9
F # Slow - getting faster

& #
0
2
2
0
# # ..
T
A
B
F #/E
T
A
B
0
1
&
0
1
.
0
0
1
2
2
0
# #
4 3
61
Fs
Slowing
B
# .. ..

& # #
4 3
T
A
B
4 3
. .
. .
A #m
&
Slower - getting faster

C #m Play 3 times
G #m
#
#
G * (3 times)
last x
U
.. ..

..
rit.
T
A
B
. .
. .
Much
Slower
to
with Coda
~~~~~~
2 0 2
0
1
3
4
4
~~~~~~~
T
A
B
2
0
In tempo
T
A
B
Slowing
ad lib.
T
A
B
.
.
Form
Overview:
.
.
6 7
0
7 7
0 0
7
0
6 7
6 7
0
0
0
12
0
Fs
#
#
0
0
3
4
4
0
0
0
3
4
4
0
~~~~~~
& 44 ..# .. # #
.
> > >
7 times
0
0
3
4
4
0
ggg 03
gg 44
gg 2
A This is the Groove

B Keep returning to B
between variations: repeat B as many times as you wish with strumming flourishes.
C Variation #1 then return to
D Variation #2 then return to B

E
F Bridge sections
G Transition
B
Recap
Coda
62
.
.
ad lib.
Coda
U
3
U
g # # # 44
#
&
g
> > > > ggg # #
j
0
UU
0
# # # >
# #

&
#
. #
0
muted
232 2 3
>.
Slower
Gmaj7s11
e = e cadenza ad lib.
About the Author

Guitarist, Steven Zdenek Eckels, is perhaps the most significant representative of American folkloric nationalism of the late twentieth and early twenty first century. For his unsurpassed contribution to the body of published guitar literature, he is known as The Lion of Fingerstyle Guitar. The arrangements that form the core
of his concert repertoire include American classics in genres such as Gospel, Blues, Stephen Foster,
Appalachian Ballads, Cowboy Songs, and Native American Music.
Eckels has spent the majority of his career, creating concert arrangements of American traditional music for
Mel Bay Publications and developing classroom-teaching techniques for guitar in the public schools. When
Mel Bay Publications needed an author for its' new series A Modern Method for Fingerstyle Guitar Eckels
was chosen. Eckels was also asked by the Music Educators National Conference to write a classroom guitarteaching manual which was published in 2009. This landmark publication is the first classroom-teaching manual written by an educator who is also a virtuoso guitarist. It will influence the future of music education by
making classroom guitar pedagogy available for the core curriculum for music educators.
Of the more than twenty books he has written for Mel Bay Publications, several of them are historic firsts
including Cowboy Classics, Gregorian Chant for Fingerstyle Guitar, Native American Music for Fingerstyle
Guitar and a folio and recording of the music of Stephen Foster. His contributions to American guitar literature
have earned him the nickname of The Fernando Sor of Americana.
During his formative years, Eckels lived in the foothills of the Appalachian Mountains in Virginia where he
was listened to Afro American rhythm and blues, folk, bluegrass, and Southern Gospel music. After high
school, he received his formal training in Boston Massachusetts at Berklee College of Music and New
England Conservatory, where he graduated with a Masters Degree in guitar. Later, he was to receive music
education certification, and for the past ten years, he has been the high school guitar instructor for the
Kalispell public schools in Montana. He recently received his National Teaching Certification by the National
Board of Professional Teaching Standards.
63

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MB21458BCD

Mel Bay Presents

MEL BAY PUBLICATIONS, INC. #4 INDUSTRIAL DRIVE PACIFIC, MO 63069

Carribean: Reggae Dance Party

Visit us on the Web at www.melbay.com E-mail us at email@melbay.com

Carribean: Reggae Dance Party ..............................40

3 times getting softer

This page has been left blank

D.S. al Coda with repeat

(open solo for ending)

* Last time repeat the first ending

* Take repeat before going to

( 2nd x D.C. al Coda) Dm

This page has been left blank

Cuba: Mambo Cubano

D.C. al Coda Last X

* last time repeat measures 21-24 and take the Coda.

This page has been left blank

Africa: Afro Groove

4/6 CII means to the barre 4 strings at the second fret.

D.C. endings and 3

Carribean: Jamaican Beach Party

Carribean: Reggae Dance Party

Celtic: Star of the County Down

This arrangement has been fingered to support

* measures 34-37 may also be used as introduction.

Cuba: Caf Americano

India: Tea and Spices

* optional strum strings 6,5,3 during this section.

Japan: Japanese Garden Song

(Vera Cruz Folk Song)

Play 4 times muted

* see optional measure

Middle East: Circle Dance

Start slowly and gradually get faster

Peru: El Condor Pasa

(Andes Mountain Song)

Russia: Gypsy Love Song

South Africa: Festival Africana

India: Street Dance

With each D.S. play the

F # Slow - getting faster

Slower - getting faster

A This is the Groove

C Variation #1 then return to

D Variation #2 then return to B

About the Author

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