Steve Howe's 'the Clap', Very Detailed Guitar Tablature her 2000)

Clap by Steve Howe transcribed by Conall Gallagher ([email protected]) ([email protected]) Rev. Rev. 1.83, March 23, 2000

P R E L I M I N A R Y D R A F T 

This is a work in progress! I took a first pass at this transcription by trying to consolidate the “typical” or “best-of” features features from the various versions of “Clap” (rev 1.0, which was on NFTE for some time). That proved to be unworkable since there are so many interesting interesting variations. So I then started a second pass, transcribing all three available CD versions at once with even greater accuracy--including accuracy--including the addition of accurately timed measures. I’ve also included other interesting variations from non-CD sources. This takes time! At this point on the second pass (rev 1.83, March 2000), I am three-quarters finished. finished. You can tell the first pass charts by the “?” after the chart number and source reference; e.g., “24=>> TYA?”. TYA?”. This does not mean that the first pass transcription is bad. It is “just” 90% accurate instead of 99% accurate as it will be soon. Check back for periodic updates (http://yesguitar.home.att.net/main.html) or e-mail me for the very latest.  Revisions since 1.82: •

Reformatted Reformatted for Adobe Acrobat. This allowed me to expand the chart width from 80 to 100 characters, and that allowed me to fit the 10 charts from 21 to 30 (old system) into 5 charts, 21 to 25. This caused the chart numbers to change for charts charts 22 and above. All chart references are to the new system unless noted otherwise.

•

Added timing bars below each chart.

•

Charts 36–39: Completed all versions. A significant error on one note in charts 37 and 39 has been corrected .

Introduction This document is more than a transcription of Steve Howe’s “Clap”; it is a monumental effort that (1) documents three-plus versions of the song in exact detail and (2) describes the technique Steve uses to play them in as much detail as can be gleaned from video sources (a lot). In short, it is a thesis in “Clapology.” “Clapology.” If you object to a long thesis, there are plenty of short (and inaccurate) “Clap” transcriptions available. However, if you want to really learn the song, your search is over—but you will need to study! Actually, it is likely that you will learn much more than just “one song”; you will learn a whole new way of playing the guitar. Playing Technique and Other Hints Howe’s right hand technique involves holding a flatpick with the thumb and index finger and then using the middle (m) finger and occasionally the ring (a) finger to fingerpick. Most of the song could be played fingerstyle, fingerstyle, but the several very fast licks demand the use of a flatpick. And the distinct and separate bass and melody lines demand the use of fingerpicking. Therefore, it is essential that this hybrid right-hand technique be used. I tend to use my ring finger (a) for most fingerpicking, with help from my middle finger (m) as required. Steve mainly uses his middle finger (m). Use whatever is more comfortable for you. Here is a Q&A quote from Steve’s Web site (http://stevehowe.com): Q: I was wondering wondering how you got into the “rag-time” sort of approach approac h you use in many many of your pieces like “Clap” and “Ram” (asked by Johan Hammar). A: I first heard that kind kind of guitar playing playing by Big Bill Broonzy and and then Chet Atkins, Atkins, Merle Travis, Scottie Scottie Moore; all those guys were playing picking guitars. I do it by holding a plectrum and picking with my second [m] finger, and it’s one of the nicest ways to play a guitar, it’s really good fun. I was playing it just an hour ago. Steve does not maintain nails on his right hand; instead he uses his bare fingertips to pick. In general, nails give more attack to the sound. I have tried both ways and either works well. My personal preference is to use nails. (But steel strings tend to chew up nails; thankfully, mine are quite tough.)

You need a decent guitar to play “Clap.” Not necessarily a Martin 00-18, but something that is responsive, with good action, and easy to play. It should have a solid top as a minimum. The song cannot be played on a “Silvertone Special”; don’t even try! I prefer standard light strings (0.012 – 0.054), and according to Guitar World Acoustic (no. 34, winter 2000), so does Steve: He uses Martin light-gauge light-gauge strings, from 0.012 to 0.052, and says, “To pick this tune properly, properly, you need that 0.012 on the top.”

About the Tab I’ve added an “N” line, one or two “R” lines, and an occasional “L” line above each tab chart. “N” is for notes, which are footnoted below each chart. “R” is for right hand, and “L” is for left hand. (My apologies to all the lefties out there.) See the legend below. I always show basic right hand technique in the charts because it is so important and may not be obvious. In strumming and fastlick passages, I also indicate flatpick upstrokes and downstrokes. Do not ignore these! They are important for developing a smooth flow (however awkward or trivial they may seem at first). The stroke indications also tell you about time since each stroke is usually (but not always) equal to an eighth note. This can be very helpful. Note that I will show strokes even when the strings should not be played. They should be played only if there is also a “P” notation. T hese “air strokes” are very helpful in keeping the rhythm consistent. I show left hand fingering only when it may not be obvious or is very important—typically for the fast licks. Notes are being held throughout the song. In most cases, I do not indicate the hold because it would be difficult to do and it should be fairly obvious anyway. Typically, your left hand is in a chord position and you are picking through it sequentially—for instance, in bar 3 of chart 1, the D on the 3rd fret gets held throughout the measure, though I don’t explicitly indicate indicate it. Here it would be very “unnatural” to lift your 1 finger off the third fret just after playing it. (“Clap” is a very natural song!) You just let the note ring. In cases where it is not obvious or is important, I will indicate a held note. Left Hand (L) Line

Right Hand (R) Line

1

Use index finger

P

Use flatpick (or plectrum)

2

Use middle finger

m

Use middle finger

3

Use ring finger

a

Use ring (annular) finger

4

Use little finger

p

Pull-off*

h

Hammer-on*

Tab Symbols

s

Slide*

*7*

Harmonic at fret shown

^

Downstroke with pick 

3==>

Hold shown note thus far

v

Upstroke with pick 

!

Tap body

t

Tap body percussively

(5)

Note is barely audible, implied, or vibrating sympathetically

x

Damped or dead note (no pitch)

* Pull-offs, hammer-ons, and slides are obviously made with the left hand, but since they produce the sound t hey are included on the right ha nd line.

Because it is difficult to tell which right-hand fingers Steve is using to fingerpick with in every instance, I have shown my preferred right-hand right-hand technique in the tab, except as noted. (If you substituted an “m” for my “a” everywhere, you would probably be fairly close to Steve’s actual right-hand technique.) Everything else—string/fret positions and left-hand fingering where shown—is always as Steve actually plays it. Uncertainties are openly and honestly noted. The tune is in 4/4 time—very quick 4/4! I have not included time values for the notes; however, I have accurately indicated measures, measures, so you will know that each bar consists of the equivalent of four quarter notes’ worth of time (except as noted). It is up to you to listen to recordings of “Clap” and feel the time. In most cases, the timing will be obvious—the song consists almost entirely of quarter and eighth notes. And I have written the notes with proportional spacing in most cases—an eighth note is separated from the following note by one space and a quarter note is separated by three spaces. I’ve numbered the tab charts for reference. In each chart, the three different CD versions (see below) are printed “synoptically” for easy side-by-side side-by-side comparison. The source, track, and time reference is noted above each tab chart; e.g., TYA, TYA, CD2= 0:10 (The Yes Album, CD track 2, beginning at the 0:10 mark). In cases where there is an interesting variation that is only on a video version, I will show that too.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 2

You need a decent guitar to play “Clap.” Not necessarily a Martin 00-18, but something that is responsive, with good action, and easy to play. It should have a solid top as a minimum. The song cannot be played on a “Silvertone Special”; don’t even try! I prefer standard light strings (0.012 – 0.054), and according to Guitar World Acoustic (no. 34, winter 2000), so does Steve: He uses Martin light-gauge light-gauge strings, from 0.012 to 0.052, and says, “To pick this tune properly, properly, you need that 0.012 on the top.”

About the Tab I’ve added an “N” line, one or two “R” lines, and an occasional “L” line above each tab chart. “N” is for notes, which are footnoted below each chart. “R” is for right hand, and “L” is for left hand. (My apologies to all the lefties out there.) See the legend below. I always show basic right hand technique in the charts because it is so important and may not be obvious. In strumming and fastlick passages, I also indicate flatpick upstrokes and downstrokes. Do not ignore these! They are important for developing a smooth flow (however awkward or trivial they may seem at first). The stroke indications also tell you about time since each stroke is usually (but not always) equal to an eighth note. This can be very helpful. Note that I will show strokes even when the strings should not be played. They should be played only if there is also a “P” notation. T hese “air strokes” are very helpful in keeping the rhythm consistent. I show left hand fingering only when it may not be obvious or is very important—typically for the fast licks. Notes are being held throughout the song. In most cases, I do not indicate the hold because it would be difficult to do and it should be fairly obvious anyway. Typically, your left hand is in a chord position and you are picking through it sequentially—for instance, in bar 3 of chart 1, the D on the 3rd fret gets held throughout the measure, though I don’t explicitly indicate indicate it. Here it would be very “unnatural” to lift your 1 finger off the third fret just after playing it. (“Clap” is a very natural song!) You just let the note ring. In cases where it is not obvious or is important, I will indicate a held note. Left Hand (L) Line

Right Hand (R) Line

1

Use index finger

P

Use flatpick (or plectrum)

2

Use middle finger

m

Use middle finger

3

Use ring finger

a

Use ring (annular) finger

4

Use little finger

p

Pull-off*

h

Hammer-on*

Tab Symbols

s

Slide*

*7*

Harmonic at fret shown

^

Downstroke with pick 

3==>

Hold shown note thus far

v

Upstroke with pick 

!

Tap body

t

Tap body percussively

(5)

Note is barely audible, implied, or vibrating sympathetically

x

Damped or dead note (no pitch)

* Pull-offs, hammer-ons, and slides are obviously made with the left hand, but since they produce the sound t hey are included on the right ha nd line.

Because it is difficult to tell which right-hand fingers Steve is using to fingerpick with in every instance, I have shown my preferred right-hand right-hand technique in the tab, except as noted. (If you substituted an “m” for my “a” everywhere, you would probably be fairly close to Steve’s actual right-hand technique.) Everything else—string/fret positions and left-hand fingering where shown—is always as Steve actually plays it. Uncertainties are openly and honestly noted. The tune is in 4/4 time—very quick 4/4! I have not included time values for the notes; however, I have accurately indicated measures, measures, so you will know that each bar consists of the equivalent of four quarter notes’ worth of time (except as noted). It is up to you to listen to recordings of “Clap” and feel the time. In most cases, the timing will be obvious—the song consists almost entirely of quarter and eighth notes. And I have written the notes with proportional spacing in most cases—an eighth note is separated from the following note by one space and a quarter note is separated by three spaces. I’ve numbered the tab charts for reference. In each chart, the three different CD versions (see below) are printed “synoptically” for easy side-by-side side-by-side comparison. The source, track, and time reference is noted above each tab chart; e.g., TYA, TYA, CD2= 0:10 (The Yes Album, CD track 2, beginning at the 0:10 mark). In cases where there is an interesting variation that is only on a video version, I will show that too.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 2

How This Transcription was Made I used three sources of audio (CD), which I slowed down with a special sound program on my PC that preserves pitch: •

The Yes Album (TYA), 1970

•

 An Evening of Yes Music Plus (YMP), 1989

•

 Not Necessarily Acoustic (NNA), 1993

I also used five sources of video, which I went over again and again in slow motion: •

Yessongs (YSG), 1972

•

Yes Live 1975 at QPR (QPR), 1975

•

Steve Howe Unplugged: Live at Montreux Jazz Festival (MJF), 19791

•

 An Evening of Yes Music Plus (YMP), 1989

•

 Night of the Guitars, Part 2 (NTG), 1989

I used the slowed down audio to get the proper notes and the video to get the proper left and right hand fingering. That’s why the charts show mostly the audio versions. versions. In instances in which a video version is transcribed, I copied the audio track over to my PC and slowed it down. If you want to see for yourself, now the best way is to obtain the Steve Howe Interactive CD-ROM. This great resource became available long after I started with the videos, which is why it is not listed above. His guitar is on a stand, and there are great close ups of every part of the song. But you will need a near state-of-the-art PC (by year 2000 standards) to run it properly. You will also need to buy QuickTime Pro ($30, via the Apple Web site) if you want to do frame-by-frame properly.

Philosophy I don’t want too get too heavy or verbose, but I feel some need to explain why I want to document this tune in exact detail. I do not advocate that one must play the tune exactly as Steve plays it (and I show it) or else one is not playing it “properly.” Far from it. I simply want to capture a true snapshot of three particular performances by a virtuoso, who could teach you and me a thing or two! When we have that as a baseline, we can and should use our own styles, ideas, inclinations, or whatever to modify the tune, and our performance of it, to suit us. As shown in this transcription, Steve himself is a great example of what I am talking about. He has probably never played this tune exactly the same way twice. Acknowledgements Many thanks to my friends Ariel Aramburu, Aramburu, who started me on this project, and Ed Schaum, who kept me going. Thank you!

1

The MJF performance of “Clap” is also available on the video Fingerstyle Guitar, New Dimensions & Explorations, Volume 3 (Vestapol 13018).

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 3

||||||||

Clap

by Steve Howe

|||||||| Key of D

Chart 0 0 –>> YSG N 1 * * ....Intro................................................*.........................................* R m * m m * R P P * P * 1st:E----------------------------------------------------|-----------------------------------------| 2nd:B----------------------------------------------------|-----------------------------------------| 3rd:G--------------------------------------------2-------|-1-------0-------------------------------| 4th:D----------------------------------------------------|-----------------------------------------| 5th:A------------------------------------0-------------2-|-------4---------------------------------| 6th:E----------------------------------------------------|-----------------------------------------| ........................................|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

The tab here is written proportionally, but he speeds it up just slightly as the intro progresses. The emphasis is on the first open A and then the 3rd-string notes, which leads one into the tune—starting the feet tapping—in a half-time sort of way (i.e., on beats 1-3-1-3 1-3-1-3). This same intro is used on QPR.

Chart 1 1 –>> TYA, CD2= 0:10 N 1 * 2 2 * 3 4 * 2 * ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.....................................* R a a * a m a m * a m * a m a a * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B-------x------8-----|---7-------5-----|-----3-----------|-3---------3---0-------------------------| G--7----x--------7---|-----7-0-----6-0-|-----4-----4-----|-2-----2---------------------------------| D--7-------(9)---9---|(7)--7-------7---|-5---5--(5)--5---|(0)--0-------0---------------------------| A-----------10-------|-9-------7-------|-5-------5-------|-0-------0-------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1 –>> YMP, CD3= 0:34 N 1 * 2 2 * 3 * 2 * ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.....................................* R a a * a m a * a m * a m a m * R P P P P * P P P P P * P P P P * P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B--------------8-----|---7-------5-----|-----3-----------|-3---------3(3)--------------------------| G-------7--------7---|-----7(0)----6-0-|-----4-----4-4---|-2-----2-----2-0-------------------------| D--7--------9----9---|-7---7---7---7-0-|-5---5-------5---|-----0-------0---------------------------| A-----------10-------|-9-------7-------|-5-------5-------|-0-------0-------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1 –>> NNA, CD22= 0:01 N 1 * 2 2 * 3 2 * 5 2 * ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.....................................* R a a * a m a m * a m * a m m a * R P P P P * P P P P * P P P P P * P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B-------7------8-----|--(7)------5-----|-----3-------3---|(3)==>---------0-------------------------| G-------7-------(7)--|-----7(0)----6-0-|-----4-----4-4---|-----2---2-------------------------------| D--7--------9----9---|(7)--7---7---7---|-5---5-------5-0-|-------------0---------------------------| A-----------10-------|-9-------7-------|-5-------5---5---|-0----(0)0-------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

This D/A chord is simple, yet a bit mysterious. The mystery centers on the 2nd-string note. Is it an F# (7th fret), an A (10th fret), or damped? I believe I have heard and seen all three options. Whether listening at 6x speed or looking at still frame video, it is very difficult to tell. One problem is that the bass A creates sustaining octa ve harmonics, which mimic the high A on the 10th fret. So this is why you may see either the third (F# in the D/A chord) or the fifth (A in the D/A chord) on thi s chord type throughout the song. Either note—or a damped note—sounds fine. You can be sloppy here with no problem.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 4

2.

This open passing note is very quick and is made as you transition between chords. Steve uses this technique throughout the song. Usually, the note is open G, but sometimes it is open B, open D, or a combination. From video, Steve seems to play these passing notes with either the “m” finger (e.g., QPR) or an upstroke with the pick (e.g., YMP), but this is very difficult to see. I prefer using my “m” finger whenever possible. Experiment.

3.

This right hand technique and notation is very common. You sort of “grab” the strings with the pick and “a” (or “m”) finger. The finger brushes the two (or more) strings indicated. E.g., in this case (according to my notation), the pick gets the 4th string and the “a” finger gets both the 2nd and 3rd strings. At least that’s how I typically do it. But you could also use both the “m” and “a” fingers at the same time, the “m” getting the 3rd string and the “a” getting the 2nd string. It appears that Steve may do this, but it’s tough to tell. Experiment.

4.

It sometimes sounds like he’s picking the high D (3rd fret) here again with the bass D. But if you listen very closely (I slowed down 600%), you can hear the high D’s sustain carry through from the G triad just played. I think this “attack” phenomenon must be caused by octave overtones in the low D. This was also verified by still-framing the QPR video and watching his right hand.

5.

This bar on NNA is almost impossible to make out. It seems like he doubles up the open A for some reason in the middle of the bar. The high D is always  just a drone. And the first high A (2nd fret) seems to occur on the 2 beat instead of t he 2& beat, which is very strange. I would not even try to play this—it makes no sense! But that’s what I hear. Perhaps it’s a mistake.

Chart 2 2 –>> TYA, CD2= 0:15 N * * 1 2 2 2 * 2 2 2 3 4 5 * ...D/A......G........*.D/F#....A/E.....*.F#7...............*.......................................* R a a * a m a m * a a m * a m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|-----------------|-------------------|---------------------------------------| B--------------8-8---|---7-------5-5---|-----7-----7-------|---7-----7-----------------------------| G--7----7--------7---|-----7-0-----6-0-|-----9-------9-----|-----9-------9-------------------------| D--7--------9----9---|(7)--7--(7)--7---|(8)--8---------8---|-------8-----x-------------------------| A-----------10-------|-9-------7-------|-9-----------------|-9---------9-9-------------------------| E--------------------|-----------------|---------9---------|------------(8)8-----------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|.....|...*.|.....|...|...|.......................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 4 & * 1 2 & 3 & 4 & *

2 –>> YMP, CD3= 0:38 N * * 1 * 2 2 2 4 5 * ...D/A......G........*.D/F#....A/E.....*.F#7...............*.......................................* R a a * a m a m * a m * a m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-------------------|---------------------------------------| B--------------8(8)--|---7-------5-5---|-----7-------------|---7-----7-----------------------------| G-------7--------7---|-----7-0-----6-0-|-----9-----9-9-----|-----9-------9-------------------------| D--7--------9----9---|(7)--7---7---7---|(8)--8-------8-----|-------8----(0)------------------------| A-----------10-------|-9-------7-------|-9-----------------|-9-------------------------------------| E--------------------|-----------------|---------9---------|---------------8-----------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|.....*.|.....|...|...|.......................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 & 4 & *

2 –>> NNA, CD22= 0:05 N * * 1 * 2 2 2 6 5 * ...D/A......G........*.D/F#....A/E.....*.F#7...............*.......................................* R a a * a a m * a a m * a m a ^ v ^ * R P P P P * P P P P * P P P P * P P P * E----10--------------|-----------------|-------------------|---------------------------------------| B------(10)----8-----|---7-------5-----|-----7-----7-------|---7-----7-----------------------------| G-------7--------7---|-----7-------6(0)|-----9---------9---|-----9---------------------------------| D--7-------------9---|-7---7--(7)--7---|-----8-------8-----|-------8-------------------------------| A-----------10-------|-9-------7-------|-9-----------------|-9-------------------------------------| E--------------------|-----------------|---------9---------|---------------8-----------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|.....*.|.....|...|...|.......................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 & 4 & *

2 –>> QPR N * * 1 * 7 4 5 * ...D/A......G........*.D/F#....A/E.....*.F#7...............*.......................................* R a m a m * a m a m * a m * m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|-----------------|-------------------|---------------------------------------| B-(7)-----0----8---0-|---7-------5-----|-----7-------------|-------7-------------------------------| G-(7)---7--------7---|-----7-0-----6-0-|-----9-----9(9)----|---9-9(9)--x---------------------------| D--7--------9----9---|-----7-------7---|(8)--8-------8-----|-----8---8-x---------------------------| A-----------10-------|-9-------7-------|-9-----------------|-9-------------------------------------| E--------------------|-----------------|---------9---------|-------------8-------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|.....*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 5

1.

To set up for the following picking, it makes sense to play this chord fragment with “P,” “m,” and “a,” instead of just “P” and “a” as I have indicated (I have only two tab lines). This is what Steve does—the QPR video shows a very clear shot of this technique here and especially on the repeat (chart 7) where the camera looks right down the neck from the head toward his right hand.

2.

This is a very quick triplet. The high F# definitely comes slightly after the bass note.

3.

On TYA, Steve plays this F# very softly; perhaps it was not meant to be played. See note 7.

4.

From QPR video, this appears to be an upstroke strum on the F#7 chord. He seems to purposely do an upstroke to prepare for the following downstroke on the C, which follows very quickly. On QPR, it is very percussive (i.e., little evident pitch). On other versions, if you listen very closely, you can often hear open D, which comes about as a result of the 2 finger being lifted to play the following C.

5.

This C is always very emphatic. From QPR video, he seems to strum here on a strong downstroke, but I don’t hear much more than the C on any version. Also, his 3 finger (F#) is always in the air as the C is played, which doesn’t seem to make sense since it could be held into the following Bm7 chord (this is what I do). Experiment.

6.

On NNA, I don’t hear anything here. Perhaps it’s a mistake.

7.

Similar to TYA (see note 3), he hits this A# ever so lightly on QPR (unintentionally I’m sure). The video shows his right hand in a strong downstroke strum here, which he must be using to prepare for the following quick upstroke-downstroke sequence.

Chart 3 3 –>> TYA, CD2= 0:19 N 1 * 2 3 4 4 * 5 6 6 * * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a ^ v ^ v ^ v * R P P P P * P P P P P P * P P P P * P P P P P P * E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5--(2)2---2-2-x--------------------------| B-------------------|----(5)5----(4)--|(3)--------------|(3)--3-3---3-3-x--------------------------| G-------------------|-----6-6---x-5-x-|-4---------------|-----2-2---2-2-x--------------------------| D-(7)-(7)------(7)--|-----5(5)--x-4-x-|-3--(3)-----(3)--|-----4(4)--4-4-x--------------------------| A-(9)--9--------9---|-----7-----x-6-x-|-5---5-------5---|-2-----------2-x--------------------------| E--7-------7--------|-5---------x-4-x-|-3-------3-------|------------------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

3 –>> YMP, CD3= 0:43 N 1 * 2 3 4 4 * 5 6 6 * 7 * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m * R P P P P * P P P P P P P * P P P P * P P P P * E------7---9-10-----|-9-----5-5-------|-----3---5-7-----|-5-----2----------------------------------| B-------------------|-------5-5-x-4-x-|-3---------------|(3)----3---3-3----------------------------| G--------------(7)--|-----6-6-6-x-5-x-|-4---------------|-------------2----------------------------| D--------------(7)--|-----5-5-5-x-4-x-|-3--(3)-----(3)--|-----4-------4----------------------------| A------9--------9---|-----7-----x-6-x-|-5---5-------5---|-2----------------------------------------| E--7-------7--------|-5-----------4-x-|-3-------3-------|---------2--------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

3 –>> NNA, CD22= 0:09 N 1 * 2 3 4 4 * 5 6 6 * 7 * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m m * R P P P P * P P P P P P * P P P P * P P P P * E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5-----2----------------------------------| B-------------------|----(5)5----(4)--|(3)--------------|(3)--------3--(3)-------------------------| G-------------------|-----6-6-----5---|-4---------------|--------------(2)-------------------------| D-----(7)------(7)--|-----5(5)--x-4-x-|-3--(3)-----(3)--|-----4-------4----------------------------| A------9--------9---|-----7-----x-6-x-|-5---5-------5---|-2----------------------------------------| E--7-------7--------|-5---------x-4-x-|-3-------3-------|---------2--------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Steve frequently strums this chord fragment as the third strum in the transition from the F#7. From QPR video, it’s a downstroke. Note that all the strums in these charts are very quick yet very controlled and tight (covering just a few strings). Very difficult!

2.

The E (7th fret) can be fingered just as the high C# (9th fret) is released if you do not have hands as large as Steve’s.

3.

Play the high A of the melody here. On the QPR video, he clearly uses his finger (not pick) to get it. But he also plays it in a more discrete manner on QPR. (QPR is played very cleanly overall.) On other versions that are typically more “strummy” (like those above), the videos do not show his right hand. But I have to assume he’s using the pick and strumming. Experiment.

4.

There is a quick little damped strum preceding both the Ab7 and the following G7 chords. These appear to occur on the upstroke. And, from video, these are definitely dominant 7th chords; his 4 finger is clearly in the air.

5.

The G7 strum includes the G note, which is the first part of the alternating bass that would otherwise be picked discretely.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 6 

6.

Slide up with 4 finger from 5th to 7th fret and then pick the B as shown. You may have to briefly let go of the chord as you do this. Note that Steve does not let go; this is very clear on the QPR video. This allows him to play the next alternating bass note (D on 5th fret). This is extremely difficult for those of  us with medium size ha nds (like me), but it can be done with practi ce. It may help to lift the lower part of the barre (cranking your wrist forward yet more), which makes it easier to shift the hand just enough. If an open B gets in there that’s okay since B is being played anyway (by 2 finger). Also, on the three audio versions, the sound of the bass note is more percussive than it is D pitch. It sounds like a short strum on damped strings.

7.

This bar is how he plays it on the YMP and NNA versions. The other video-only versions, especially QPR and MJF, sound similar. The low F# is definitely in all of these. The classic TYA version (oldest) is different.

Chart 4 4 –>> TYA, CD2= 0:23 N 1 * 2 3 4 1 * 2 3 4 5 * ...G7..............*.................*.............................................................* R a a p * a a a p * a a a m * R P P P P * P P P P * P P P P * E------------------|-----------------|-------------------------------------------------------------| B------3-----5-3---|-5===>-3---5-3---|-5===>-3---5---3---------------------------------------------| G------4-----------|(4)----4---------|(4)----4-----4-----------------------------------------------| D------------------|-------3-----3---|-------3-----------------------------------------------------| A-(5)--5-------5---|-----5-------5---|-----5-------------------------------------------------------| E--3-------3-------|-3-------3-------|-3-------3---------------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...............................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

4 –>> YMP, CD3= 0:47 N 1 * 6 1 * 6 1 * ...G7..............*.................*.............................................................* R a a p * a a a p * a a a p m * R P P P P * P P P P * P P P P * E------------------|-----------------|-------------------------------------------------------------| B------3-----5-3---|-5===>-3---5-3---|-5===>-3---5-3-----------------------------------------------| G------4-----------|(4)---(4)--------|(4)---(4)------0---------------------------------------------| D------------------|-----------------|-------------------------------------------------------------| A-(5)--5-------5---|-----5-------5---|-----5-------5-----------------------------------------------| E--3-------3-------|-3-------3-------|-3-------3---------------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...............................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

4 –>> NNA, CD22= 0:13 N 1 * * 7 8 * 9 10 * ...G7..............*.................*.................*...........................................* R a a p * a s a m * a a a m * a a a m a * R P P P P * P P P P * P P P P * P P P P * E------------------|-----------------|-----------------|-------------------------------------------| B------3-----5-3---|-6-5---3---------|-5---5---3-------|-6---5---3-----0---------------------------| G------4-----------|-----------4-4---|-----------4-4---|-----------4-4-----------------------------| D------------------|-------------3---|-------------3---|-------------3-----------------------------| A-(5)--5-------5---|-----5-------5---|-----5-------5---|-----5-------5-----------------------------| E--3-------3-------|-3-------3-------|-3-------3-------|-3-------3---------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Pull off 4 finger.

2.

On TYA, bend E with 4 finger up near F and then back down to E within the same beat. Pull down on string.

3.

On TYA, this bass note is completely de-emphasized and sounds damped.

4.

This bass note is also de-emphasized on TYA.

5.

On TYA, he doesn’t play the bass note (D) here, so I assume he picks the B (4th fret) with the plectrum to keep the motion consistent. This would sort of  blend into the next chart too, which might justify its awkwardness. This is obviously educated guessing on the right-hand technique here.

6.

On YMP, he seems to bend the string up near F just before picking it. So the note starts high and descends toward E, which is held into the second beat.

7.

On NNA, bend E with 4 finger up to F but do not go down again. Here reaching F with the bend is more important than on TYA and YMP since it should match the pitch of the fretted F in the surrounding measures.

8.

On NNA, this is a straight E that is picked.

9.

He adds an extra bar in the NNA version.

10.

This transitional note to the D7 is definitely a B in the NNA version.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 7 

Chart 5 5 –>> TYA, CD2= 0:26 N 1 2 3 * * 4 5 6 * 7 7 7 7 7 7 * ....D7..............*.................*.A7..............*..........................................* R ^ m v ^ m v ^ m * v ^ m v m ^ v * m m m m * m m * R P s P P P P * P P P P P * P P P P * P p p P P p p P * E--------(0)--------|-----------------|-----------------|------------------------------------------| B-----7-----7-----7-|-----7-----x-7---|-----------------|-------------------0----------------------| G-------5-----0-----|-5-----0---x-5-0-|---6---6--(6)--6-|---------6---------0----------------------| D-5-7-----7-----7---|---7---------7---|-5-------5-5-----|-9-7(5)7----------------------------------| A-------------------|-----------------|-----9-------7---|-----------9-7(5)7------------------------| E-------------------|-----------------|-----------------|------------------------------------------| .|.....|...|...|...*.|...|...|...|...*.|...|...|...|...*.|.....|...|.....|........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 4 & *

5 –>> YMP, CD3= 0:51 N 1 * * 8 * 7 7 7 7 7 7 * ....D7..............*.................*.A7..............*..........................................* R ^ m v ^ m v ^ m * v ^ m v ^ m ^ v * ^ ^ v ^ v ^ v * ^ vP ^ v ^ vP ^ v * R P P P P P * P P P P P P * P P P P P P P * P p p P P P p p P P * E-------------------|-----------------|-----------------|------------------------------------------| B-----7-----7-----7-|-----7-----7-----|-----------------|------------------------------------------| G-------5-----0-----|-5-----0-----5-0-|-6-----6--(6)--6-|-----6---6-----6---0----------------------| D---7-----7-----7---|---7-----7---7---|-5----(5)5-5-5---|-9-7-5-7----------------------------------| A-------------------|-----------------|-----9-------7---|-----------9-7-5-7------------------------| E-------------------|-----------------|-----------------|------------------------------------------| ...|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|.....|...|.....|........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 4 & *

5 –>> NNA, CD22= 0:17 N 1 * * 4 9 * 7 7 7 7 7 7 * ....D7..............*.................*.A7..............*..........................................* R ^ m v ^ m v ^ m * v ^ m v m ^ * m m m m * m m m m * R P P P P P * P P P P * P P P P * P p p P P p p P * E-------------------|-----------------|-----------------|------------------------------------------| B-----7-----7-----7-|-----7-----7-7---|-----------------|-------------------0----------------------| G-------5-----0-----|-5-----0-----5---|-6-6---6--(6)--6-|-----6---6-----6--------------------------| D---7-----7-----7---|---7---------7---|-5-------5---5---|-9-7-5-7----------------------------------| A-------------------|-----------------|-----9---0---7---|-----------9-7-5-7------------------------| E-------------------|-----------------|-----------------|------------------------------------------| ...|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|.....|...|.....|........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 4 & *

1.

Steve’s right hand cross-picking technique for this D7 lick is shown above. It was verified on the YMP video. My technique is slightly different: I start with a downstroke on the 4th string, get the 2nd string with the “m” finger, and then use two successive upstrokes on the 3rd and 4th strings after that. This “circular upstroke” method works very well for me; it flows well. Whichever technique you choose to use, get used to it because it i s used throughout the song.

2.

On TYA, this slide from the 5th to the 7th fret is a slur that occurs over the first eighth note.

3.

This open E is there, but I’m not sure if it was meant to be. Since it is not repeated, it seems like a mistake. The 9th of the D chord, it really doesn’t sound that bad.

4.

On YMP, he plays this A7 lick with just his pick (see note 8). I prefer to use the pick and “m” finger as shown here. Also, I’ve heard rumors that he played this A7 lick on TYA at the nut position. But all videos—starting with YSG of 1972—show him playing it at the 5th position as shown.

5.

This is a bit of a stretch for the 4 finger. Hold down your 1 finger (on A and D strings, 5th fret) and 2 finger (G string, 6th fret) throughout this passage.

6.

I think he intended this to be the C# (G string, 6th fret) again. It’s hard to hear exactly what this is, but it seems to be a repeat G (5th fret). If it was a mistake, it was probably due to his pick-only technique here, which requires a jump over the 4th string with the pick to get the following E.

7.

Triplet.

8.

He seems to purposely “muddy” this A7 lick in the YMP version; it’s half strumming, half picking. From the YMP video, it is clear that he does not use any right-hand fingers on this A7 lick—just the pick (as shown).

9.

Perhaps this open A is a mistake.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 8

Chart 6 6 –>> TYA, CD2= 0:30 N 1 * * * 2 3 * ...D/A......G........*.D/F#....A/E.....*.G/D...............*.D/A...................................* R a a * a m a m * a m * a a m m * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-------------------|-5-----2-------------------------------| B--------------8-----|---7-------5-----|-----3-------------|-3-----3-------1-----------------------| G--7----7--------7---|--(7)7-0-----6-0-|-----4-----4(4)----|(2)--2(2)--2---------------------------| D--7--------9----9---|-7---7---7---7---|-5---5--(5)--5-----|-------------0-------------------------| A-----------10-------|-9-------7-------|-5-------5---------|-0-------0-----------------------------| E--------------------|-----------------|-------------------|---------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|.....*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

6 –>> YMP, CD3= 0:56 N 1 * * * * ...D/A......G........*.D/F#....A/E.....*.G/D...............*.D/A...................................* R a a * a a m * a m * a a m * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-------------------|-5-----2-------------------------------| B------(7)-----8(8)--|---7-7-----5-5---|-----3-------------|-------3---3-3-------------------------| G-(7)---7--------7---|-----7-------6-0-|-----4-----4-4-----|------(2)--2-2-------------------------| D--7--------9----9---|(7)--7---7---7---|(5)--5-------5-----|-----0-------0-------------------------| A-----------10-------|-9-------7-------|-5-------5---------|-0-------0-----------------------------| E--------------------|-----------------|-------------------|---------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|.....*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

6 –>> NNA, CD22= 0:22 N 1 * * 4 4 4 * 5 * ...D/A......G........*.D/F#....A/E.....*.G/D...............*.D/A...................................* R a a * a a * a a m * a a m * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-------------------|-5-----2-------------------------------| B--------------8-----|---7-------5-----|-----3-----3-------|(3)-----(3)3(3)------------------------| G-(7)---7--------7---|-----7-------6---|-----4-------4-----|--------(2)--2-------------------------| D--7--------9----9---|(7)--7---7---7---|-5---5---------5---|-----x---0-----------------------------| A-----------10-------|-9-------7-------|-5-------5---------|-0-------------------------------------| E--------------------|-----------------|-------------------|---------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|.....|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 4 & * 1 & 2 & 3 & 4 & *

1.

Chart 6 is very similar to chart 1—except for the last D/A chord.

2.

On TYA, this note is almost dead (x), but there seems to be some octave-A pitch there. Did he want the open D?

3.

On TYA, this passing C note (as in a D7 chord) is very clear, but it is hard to believe since it would be so difficult to play. (It could also be played on the 5th fret of the G string, but that would be difficult too.)

4.

Triplet. The right hand technique shown is how I would play it.

5.

This NNA bar is quite strange. The second beat is barely there and percussive, and the bass notes on the third and fourth beats seem to shift up one string.

Chart 7 7 –>> TYA, CD2= 0:34 N 1 * * 2 * 2 3 * ...D/A......G........*.D/F#....A/E.....*.F#7.............*.........................................* R a a * a m a m * a m * m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B------(10)----8-----|---7-------5-----|-----7-----------|-------7---------------------------------| G--7----7--------7---|-----7-0-----6-0-|----(9)----9-----|---9---9---9-----------------------------| D--7--------9----9---|-7---7---7---7---|(8)--8-------8---|-----8-----0-----------------------------| A-----------10-------|-9-------7-------|-9---------------|-9---9----(9)----------------------------| E--------------------|-----------------|---------9-------|-------------8---------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 9

7 –>> YMP, CD3= 1:00 N 1 * * * 2 * ...D/A......G........*.D/F#....A/E.....*.F#7.............*.........................................* R a a * a a * a m * m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B------(7)-----8(8)--|---7-------5(5)--|-----7-----------|-------7--(7)----------------------------| G-(7)---7--------7---|-----7-------6---|-----9-----9-9---|---9-9----(9)----------------------------| D--7--------9----9---|-----7--(7)--7---|-8---8-------8---|(8)--8-----------------------------------| A-----------10-------|-9-------7-------|-9---------------|-9---------------------------------------| E--------------------|-----------------|---------9-------|-------------8---------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

7 –>> NNA, CD22= 0:26 N 1 * * * 2 4 * ...D/A......G........*.D/F#....A/E.....*.F#7.............*.........................................* R a a a * a a * a m * m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B------(7)-----8-8(0)|---7-------5-----|-----7-----------|-------7---------------------------------| G-------7--------7---|-----7-------6---|-----9-----9-----|---9------(9)----------------------------| D--7-------(9)---9---|(7)--7---7---7---|-8---8-------8---|-----8----(x)----------------------------| A-----------10-------|-9-------7-------|-9---------------|-9--------(7)----------------------------| E--------------------|-----------------|---------9-------|----------(8)8---------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Chart 7 is a repeat of chart 2. There are a few minor differences.

2.

Unlike chart 2, there are no triplets here.

3.

On TYA, I can’t help wondering if this doubled F# is a mistake.

4.

On NNA, I hear a very soft brush here. It’s barely audible. At 12x speed, there is a lower E evident in the brush (7th fret). From other video sources, this makes some sense since Steve tends t o lift his 3 finger as the following low C (8th fret) is played. See note 5 on chart 2.

Chart 8 8 –>> TYA, CD2= 0:38 N 1 2 * * 2 * * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a ^ v ^ v ^ v * R P P P P * P P P P P P P * P P P P * P P P P P P * E------7---9-10-----|-9-----5-5-------|-----3---5-7-----|-5--(2)2----------------------------------| B-------------------|----(5)5-5-x-4-x-|(3)--------------|(3)--3-3---3-3-x--------------------------| G-------------------|-----6-6-6-x-5-x-|-4---------------|-----2-2---2-2-x--------------------------| D-(7)-(7)------(7)--|-----5-5-5-x-4-x-|-3--(3)-----(3)--|-----4(4)--4-4-x--------------------------| A-(9)--9--------9---|-----7-----x-6-x-|-5---5-------5---|-2-----------2-x--------------------------| E--7-------7--------|-5-----------4-x-|-3-------3-------|------------------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

8 –>> YMP, CD3= 1:05 N 1 * * * * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m * R P P P P * P P P P P P P * P P P P * P P P P * E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5-----2----------------------------------| B-------------------|-------5-5-x-4-x-|-3---------------|-------3---3-3----------------------------| G-------------------|-----6-6-6-x-5-x-|-4---------------|-------------2----------------------------| D--------------(7)--|-----5-5-5-x-4-x-|-3----------(3)--|-----4-------4----------------------------| A-(9)--9--------9---|-----7---7-x-6-x-|-5---5-------5---|-2----------------------------------------| E--7-------7--------|-5-------5-x-4-x-|-3-------3-------|---------2--------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 10

8 –>> NNA, CD22= 0:30 N 1 2 2 * * 2 * * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m * R P P P P * P P P P P P * P P P P * P P P P * E------7---9-10-----|-9-----5---------|-----3---5-7-----|-5-----2----------------------------------| B-------------------|----(5)5----(4)--|(3)-(3)----------|(3)--------3------------------------------| G-------------------|-----6-6-----5---|-4---------------|-------------2----------------------------| D-----(7)-----------|-----5(5)--x-4-x-|-3---------------|-----4-------4----------------------------| A-(9)--9--------9---|-----7-----x-6-x-|-5---5-------5---|-2----------------------------------------| E--7-------7--------|-5---------x-4-x-|-3-------3-------|---------2--------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

8 –>> QPR N 3 2 * 4 5 6 * 7 * 8 * ..Bm7...............*.F#m7..................*.G7..............*.Bm7................................* R ^ a a a * a m a v * ^ a a a * a a a m * R P P P P * P P P P P * P P P P * P P P P * E------7---9-10-----|-9-------------9-------|---3-----5---7---|-5-2---2----------------------------| B-------------------|(10)-----10---(10)---x-|-----------------|---3---3---3------------------------| G-------------------|------------------9--x-|-4---------------|------------------------------------| D---------------x---|------11----------11-x-|-3--(3)----------|(4)--4-------4----------------------| A-(9)-----------9---|-9----------12-------x-|-5---5-----------|-2-----------2----------------------| E--7---7---7--------|---------------------x-|-3-------3---3---|---------2--------------------------| ..|...|...|....|...*.|....|.....|.....|....*.|...|...|...|...*.|...|...|...|......................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Chart 8 is a repeat of chart 3. There are some very minor differences.

2.

This note is played in a very percussive manner.

3.

On QPR, the second beat stays on low B. I think this was intended.

4.

Steve substitutes this very interesting F#m7 for A7 in the 1975 QPR performance. I have not heard him do it in any of the other ten versions I have. I don’t know why because it sounds fantastic. I play it all the time!

5.

This is a bit unusual; i.e., the bass line goes I-V-III-V. Pick up the A (12th fret) with your 4 finger.

6.

This is a very quick transition for the left hand. Somewhere in here is a damped strum that sets up the G7. Experiment.

7.

He mixes up the rhythm on this bar, which sounds pretty cool.

8.

On QPR, the fourth beat bass note is definitely based on the B.

Chart 9 9 –>> TYA, CD2= 0:42 N 1 * 2 3 * 2 * 2 * ...G7..............*...................*.................*.........................................* R a a p * a ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P * P P P P P * P P P P P P * P P P P P P * E------------------|-------3--(3)------|-------3---------|-------3---3-3---------------------------| B------3-----5-3---|-5-----3---5-3-----|-5-----3-3-5-3---|-5---5-3---5-3-0-------------------------| G-----(4)----------|(4)--4-4---4-4-----|-4-----4-4-4-4---|-4---4-4---4-4---------------------------| D--------------x---|-----x-----x-3-----|-3---x-3---x-x---|-x---x-x---x-x---------------------------| A-(5)--5-------5---|-------------5-----|-5----(5)--5-5---|-5----(5)--------------------------------| E--3-------3-------|-3-----------------|-----------------|-----------------------------------------| ..|...|...|...|...*.|...|...|...|.....*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

9 –>> YMP, CD3= 1:10 N 1 * 4 1 * 4 1 * 4 1 * ...G7..............*...................*.................*.........................................* R a a p * a a a p * a a a p * a a a p m * R P P P P * P P P P * P P P P * P P P P * E------------------|-------------------|-----------------|-----------------------------------------| B------3-----5-3---|-5===>-3---5-3-----|-5===>-3---5-3---|-5===>-3---5-3---------------------------| G------4----(4)----|(4)----4---4-------|(4)----4---4-----|(4)----4---4---0-------------------------| D------------------|-------------------|-----------------|-----------------------------------------| A------5-------5---|-----5-------5-----|-----5-------5---|-----5-----------------------------------| E--3-------3-------|-3-------3---------|-3-------3-------|-3-------3---3---------------------------| ..|...|...|...|...*.|...|...|...|.....*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 11

9 –>> NNA, CD22= 0:35 N 1 * 5 * 6 6 * 7 7 8 9 * ...G7..............*...................*.................*.........................................* R a a p * a s a a m * a a a m a m * a a a a a m * R P P P P * P P P P * P P P P * P P P P P * E------------------|-------------------|---3-------------|-----------------------------------------| B------3-----5-3---|-5-6---5-3---------|-6---5---3-------|-6(6)5(5)3-----0-------------------------| G------4----(4)----|--(4)---(4)--4-----|-------4---4-----|------------(4)--------------------------| D-------------(3)--|--------------(3)--|-------------x---|-------------3---------------------------| A------5-------5---|---5---5-------5---|-----5-------5---|-----5-----5-5---------------------------| E--3-------3-------|-----------3---3---|-3-------3-------|-3-------3-------------------------------| ..|...|...|...|...*...|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Pull off 4 finger.

2.

On TYA, bend E with 4 finger up near F and then back down to E within the same beat. Pull down on string.

3.

These strumming bars on TYA are difficult to discern. The low D is very subdued with no attack—sort of a drone.

4.

On YMP, he seems to bend the string up near F just before picking it. So the note starts high and descends toward E, which is held into the second beat.

5.

On NNA, instead of bending up near the F, he seems to slide up to the F in an ornamental fashion; i.e., both notes occur in the “1” beat. As shown, the E  just barely precedes the bass note.

6.

These NNA notes are definitely there, but very muted and quick, with no sustain. It’s “chicken pickin.”

7.

In the fourth measure of NNA, these notes are repeats of the previous note, but they do not sound like it because of their different tones—yet at 6x speed, the pitches are clearly the same. Are they damped with the right hand?

8.

The D bass note comes in early here on NNA. I don’t think it’s a mistake because the pick is involved; it seems to be sort of a “strum transition.”

9.

On NNA, he quickly slides these notes down toward the nut just before playing the open B.

Chart 10 10 –>> TYA, CD2= 0:46 N 1 2 * 3 4 * * 5 4 * ...D7..............*.................*......................*......................................* L 1 2 4 1 2 4 4 * 4 1 2 4 1 * 1 2 3 1 2 3 3 * 3 1 2 3 1 * R ^ v ^ v ^ v * v ^ ^ v * ^ v ^ v ^ v * v ^ ^ v * R P m P P m P P P * s m P P m P P * P m P P m P P P * s m P P m P P * E----2-----2-------|---5-----5---x-0-|---8-------8----------|----10-------10---x-------------------| B------3-----3-----|-----7-------x-0-|-----10------10-------|-------12---------x-0-----------------| G--------5-----5-5-|-9-----9-----x---|--------11------11-11-|-14-------14------x-0-----------------| D--0-----0---------|------------(0)--|-0--------------------|--------------------------------------| A------------------|-----------------|----------------------|--------------------------------------| E------------------|-----------------|----------------------|--------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|.....|....|.....*.|.....|.....|....|...................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

10 –>> YMP, CD3= 1:15 N 1 6 * 3 4 * 7 * 5 4 * ...D7..............*.................*......................*......................................* L 1 2 4 1 2 4 4 * 4 1 2 4 1 * 1 2 3 1 2 3 3 * 3 1 2 3 1 * R ^ v ^ v ^ v * v ^ ^ v * ^ v ^ v ^ v * v ^ ^ v * R P a P P a P P P * s a P P a P P * P a P P a P P P * s a P P a P P * E----2-----2-------|---5-----5-------|---8-------8----------|----10-------10-----------------------| B------3----(3)----|-----7-------x-0-|-------------10-------|-------12---------12-0----------------| G--------5-----5-5-|-9-----9-----x---|-----11-11------11-11-|-14-------14------14-0----------------| D--0---------------|-----------------|-0--------------------|--------------------------------------| A------------------|-----------------|----------------------|--------------------------------------| E------------------|-----------------|----------------------|--------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|.....|....|.....*.|.....|.....|....|...................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 12

10 –>> NNA, CD22= 0:39 N 1 2 * 3 4 * * 5 4 * ...D7..............*.................*......................*......................................* L 1 2 4 1 2 4 4 * 4 1 2 4 1 * 1 2 3 1 2 3 3 * 3 1 2 3 1 * R ^ v ^ v ^ v * v ^ ^ v * ^ v ^ v ^ v * v ^ ^ v * R P a P P a P P P * s a P P a P P * P a P P a P P P * s a P P a P P * E----2-----2-------|---5-----5-------|---8-------8----------|----10-------10-----------------------| B------3-----3-----|-----7-------x-0-|-----10------10-------|-------12---------x-0-----------------| G--------------5-5-|-9-----9-----0---|--------11------11-11-|-14-------14------x-0-----------------| D--0-----0---------|-------------0---|-0--------------------|--------------------------------------| A------------------|-----------------|----------------------|--------------------------------------| E------------------|-----------------|----------------------|--------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|.....|....|.....*.|.....|.....|....|...................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Left and right hand fingering is from video sources; this is how Steve does it. You’ll need to carefully position your left hand at the 2nd position (easy chord) to get ready for the next chord at the 5th position (difficult). The 2 and 4 fingers remain rigid in the exact same shape as in the 2nd position, but the 1 finger sort of “hangs back” on the 5th fret as you slide up your hand. The flatpicking pattern is important here. This chart shows exactly how Steve uses his right hand, including upstrokes and downstrokes. This can be seen most clearly on the MJF video. Steve uses this same technique in chart 5. My right hand technique is different, and I think it may have some advantages over Steve’s. In the first measure, I play the first “P” (open D) as a downstroke and the following four “P”s as upstrokes in a sort of circular pattern. The last “P” is a downstroke. For the second measure “P”s, it’s up, up, followed by the down-up strum. The pattern repeats in the t hird and fourth measures. (I also use my “a” finger instead of the “m” as shown, but this is not as important.) This method works very well once you get used to it . Usually, down, up, down, up alternation (Steve’s method) is best because it keeps the timing consistent. But in the first measure of TYA and NNA, Steve inadvertently (I’m sure) strikes the D string on the 2& beat with his downstroke (see note 2). That mistake would be hard to make with my circular upstroke method.

2.

He clearly strikes the open D again on TYA and NNA. On TYA, the C on the 5th fret is also plainly there. On NNA it is not. On QPR (and YMP as shown), this “extra” open D is not there. A mistake on TYA and NNA?

3.

Slide up from 5th to 9th fret. Don’t pick the note.

4.

Steve does a little fill strum here in which the first half is very percussive, like damped strings, and the second half is made up of an open string or two (mainly B) as the left hand quickly changes position. From video, his left hand seems to still be in the same chord position during the first half of the strum. In places where I hear no pitch, I have put an “x.” In places where I hear more pitch than percussion, I have put the fret number. These little damped strum sequences are extremely quick.

5.

Slide up from 11th to 14th fret. Don’t pick the note. Don’t try this on a 12-fret guitar!

6.

On YMP, this note is not audible—must be a mistake.

7.

Another mistake on YMP?

Chart 11 11 –>> TYA, CD2= 0:51 N 1 * * 2 3 4 * * ...G7...................*........................*.D7..............*...............................* R a a * a a a a L 3 1 1 2 * 2 3 1 2 3 1 2 * R P P P P * P P P P P * P P P P P p P P * P h P P h P P * E-------13------12------|-13-12----13----12------|---2-0-----------|-------------------------------| B-----------------------|------------------------|-------1-1-0-----|-------------------------------| G-------12---------12---|-------12----------12-0-|-------------2-0-|-----2-----2-------------------| D-------12---------12---|-------12----------12---|-0---------------|-3-4---3-4---------------------| A--10-------------------|-10---------------------|-----------------|-------------3-----------------| E------------10---------|-------------10---------|-----------------|-------------------------------| ..|....|....|.....|....*.|.....|.....|.....|....*.|...|...|...|...*.|...|...|...|.................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

11 –>> YMP, CD3= 1:20 N 1 * * 5 2 3 4 * * ...G7...................*........................*.D7..............*...............................* * L 3 1 1 2 * 2 3 1 2 3 1 2 * R a a a * a a a a * ^ v ^ v ^ v * ^ v ^ v ^ * R P P P P * P P P P P * P P p P P p P P * P h P P h P P * E-------13---13-12------|-13-12----13----12------|---2-0-----------|-------------------------------| B-----------------------|---(12)-----------------|-------1-1-0-----|-------------------------------| G-------12---------12---|-------12----------12-0-|-------------2-0-|-----2-----2-------------------| D--12---12---------12---|-------12----------12---|-0---------------|-3-4---3-4---------------------| A-----------------------|-10---------------------|-----------------|-------------3-----------------| E------------10---------|-------------10---------|-----------------|-------------------------------| ..|....|....|.....|....*.|.....|.....|.....|....*.|...|...|...|...*.|...|...|...|.................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 13

11 –>> NNA, CD22= 0:43 N 1 * * 2 3 4 * * ...G7...................*........................*.D7..............*...............................* * L 3 1 1 2 * 2 3 1 2 3 1 2 * R a a a * a a a a * ^ v ^ v ^ v * ^ v ^ v ^ * R P P P P * P P P P P * P P p P P p P P * P h P P h P P * E-------13---13-12------|-13-12----13----12------|---2-0-----------|-------------------------------| B-----------------------|------------------------|-------1-1-0-----|-------------------------------| G-------12---------12---|-------12----------12-x-|-------------2-0-|-----2-----2-------------------| D--12---12---------12---|-------12----------12---|-0---------------|-3-4---3-4---------------------| A--10-------------------|-x----------------------|-----------------|-------------3-----------------| E------------10---------|-------------10---------|-----------------|-------------------------------| ..|....|....|.....|....*.|.....|.....|.....|....*.|...|...|...|...*.|...|...|...|.................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

This passage is extremely difficult. He’s barring the 10th fret with his 1 finger, barring the 12th fret with his 3 finger, and picking up the 13th with his 4 finger. To help out his 3 finger, his 2 finger is pressed in on top of it. Actually, on the 10th fret, only the 5th and 6th strings need to be barred, and Steve takes advantage of that —his 1 finger (really all fingers) approach the neck at a rather extreme angle (from videos), and it only seems to barre those two strings; there appears to be a “relaxed curl” in the 1 finger below the 5th string. At the lower edge of the neck, his 1 finger crosses well back of the 9th fret, very near the 8th in fact. The 3 finger is also at an angle, but of course it must stay on the 12th fret. From the YSG video, his thumb appears t o be behind the 8th fret, whic h allows one to sort of twist the hand to produce a large amount of leverage on the 3 finger, cranking it down on the 12th, which is what is necessary to avoid buzzes. Ouch! I am giving you all of this information because this really is one of the hardest parts of the song, and you (and I) will need all the help you can get from Steve.

2.

I’m indicating left hand fingering here again. From video sources QPR, MJF, and YMP, Steve does it like this. Yes, there are some slight hand position shifts.

3.

By listening closely, it is pretty clear that he picks this open E on TYA, but pulls it off on YMP and NNA. You can see him pull it off (i.e., not pick it) on the YMP video.

4.

The attack on the open G declares that the note is picked and not pulled off, which I have a temptation to do.

5.

I went to the effort of observing Steve’s right hand picking pattern for the third and fourth measures on the YMP video, which is shown here. I assume NNA is the same, but TYA must be something else.

Chart 12 12 –>> TYA, CD2= 0:55 N 1 2 * * 3 * 3 * .......G7..G.G7..G.*.G7..G.G7..G.....*.A7..............*...........................................* R ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P P * P P P P P P P * P P P P P P P * s P P P P P * E------1-1---1-1---|-1-1---1---------|---------0-------|-------------------------------------------| B------0-0(3)0-0-3-|-0-0-3-0---3-3-0-|-x-2-x-x-5---x-5-|----10-8---7---5-0-------------------------| G------0-0-0-0-0-0-|-0-0-0-0---0-0-0-|-0-0---0-0-----0-|----0--0---0---0---------------------------| D------0-0-0-0-0-0-|-0-0-0-0---0-0---|-x-2-x-2-5---x-5-|-11-11-9---7---5---------------------------| A--2---2-2---2-2-2-|-2-2---2---2-2---|-0-------0-------|-------------------------------------------| E------3-----3-3---|-3---------------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|.....|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

12 –>> YMP, CD3= 1:24 N 1 2 * * 4 4 4 5 3 * * .......G7..G.G7..G.*.G7..G.G7....G...*.A7..............*...........................................* R ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P P * P P P P P P P * P P P P P P P * P P P P P P P P * E------1-1---1-1---|-1-1---1---1---0-|---------0---0---|----0---0---0------------------------------| B------0-0-3-0-0-3-|-0-0-3-0---0-3-0-|-0-2-x-5-5---0-5-|-10-x-8-0-7-0-5-0--------------------------| G------0-0-0-0-0-0-|-0-0-0-0---0-0---|-0-0---0-0-----x-|-0----0---0--(0)0--------------------------| D------0-0-0-0-0-0-|-0-0-0-0---0-0---|-x-2-x-5-5-----5-|-11---9---7---5----------------------------| A--2---2---2---2---|-2---2-2-----2---|-0---0---0-------|-------------------------------------------| E------3---3---3---|-3---3-------3---|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|....|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 14

12 –>> NNA, CD22= 0:47 N 1 2 * * 3 * 6 * .......G7..G.G7..G.*.G7..G.G7..G.....*.A7..............*...........................................* R ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P P * P P P P P P P * P P P P P P * P P P P P P P * E--------1---1-1---|-1-1---1---------|---------0-------|-------------------------------------------| B--------0-3-0-0-3-|-0-0-3-0---3-3-3-|-0-2---5-5-----5-|-10---8-0-7-x-5-0--------------------------| G------0-0-0-0-0-0-|-0-0-0-0---0-0-0-|-0-0---0-0---0-x-|-0----0-0-0---0----------------------------| D------0-0-0-0-0-0-|-0-0-0-0---0-0-0-|-x-2-----5---5-5-|-11---9-------5----------------------------| A--2---2---2---2---|-2-2-2-2-----2---|---------0---0---|------0------------------------------------| E------3-------3---|-3---3-----------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|....|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Play this B with 2 finger. It is really the last note of the last D7 lick, but time-wise it ends up in the next bar (i.e., this one) with the G7 chord.

2.

This seemingly easy strumming passage can be confusing. He alternately pulls off and plays the D with his 4 finger. When he’s playing the D, he’s not playing the high F. That is, the F and D a lternate. He must be dampi ng the E string as he plays the D. I’m not sure how—the side of the 4 finger? Listen. You will see tha t Steve is playing around with syncopation here in a very interesting way.

3.

Quickly and audibly slide up the 2 and 3 fingers just after playing this. Somewhere near the 9th fret, pull up the 3 finger and put down the 1 finger.

4.

On YMP, these open A notes are muted. The important thing to notice is that they are keeping a rock steady beat in the bass, which is juxtaposed against the out-of-sync higher part. This is a continuation of the same type of pattern as in the first two bars of the YMP chart.

5.

The best way to create an in-time rest while strumming is to continue moving your hand, except raise it over the strings. I believe this is a mistake Steve made while doing this.

6.

Steve audibly slides down just after playing this on NNA.

Chart 13 13 –>> TYA, CD2= 0:59 N * * 1 * 2 * ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G.........................* R a a m * a a m * a a m * a m ^ v * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|---8-8-----------|---6-6-----------|---5-------------------------------------| B-------x------8-8---|-----x-----6-----|----(6)----4-----|-------------3-0-------------------------| G--7----x--------7(0)|-5---x-------5-0-|-3---3-------3-0-|-----2---2---2-0-------------------------| D--7--------9----9---|-5-------7---7---|-3-------5---5---|-2-------0---0-0-------------------------| A-----------10-------|---------8-------|---------6-------|---------------2-------------------------| E--------------------|-----------------|-----------------|---------------3-------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

13 –>> YMP, CD3= 1:29 N 3 * * * 2 * ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G.........................* R m m * m m * m m * m m ^ v * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|---8(8)----------|---6(6)----------|---5(5)----------------------------------| B------(7)-----8-----|-----x-----6-----|-----3-----4-----|-----2---3---3-0-------------------------| G-(7)---7--------7---|-5---5-------5---|-3---3--(3)--3---|-2---2--(2)--2-0-------------------------| D--7--------9----9---|-5-------7---7---|-3-------5---5---|-2-------0=====>-------------------------| A-----------10-------|---------8-------|---------6-------|-----------------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

13 –>> NNA, CD22= 0:52 N * * * 2 4 * ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D...............................* R a a * a a * a a * a ^ v * R P P P P * P P P P * P P P P * P P P P P * E----10(10)----------|---8-------------|---6-------------|---5-------------------------------------| B------(7)-----8(8)--|-----------6-----|----(3)----4-----|----(2)------3-0-------------------------| G-------7-------(7)--|(5)--5-------5---|-3---3-------3---|(2)--2---2---2-2-------------------------| D--7--------9----9---|-5-------7---7---|-3-------5---5---|-2-------0=====>-------------------------| A-----------10-------|---------8-------|---------6-------|-----------------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 15

13 –>> YSG N * * * 5 2 * ...D/A......G........*.C/G.....F.......*.A#/F....D#......*.A.......D.....G.........................* R a a * a a a * a a * a m ^ v * R P P P P * P P P P * P P P P P * P P P P P * E----10-10-----------|---8--(8)--------|---6(6)----------|---5-------------------------------------| B-------7------8-8---|-----5-----6-----|----(6)----4--(4)|---------3---3-0-------------------------| G--7----7--------7---|-5---5-------5---|-3---3-------3(3)|---------2---2-0-------------------------| D--7--------9----9---|-5-------7---7---|-3-------5---5---|(2)-(2)--0=====>-------------------------| A-----------10-------|---------8-------|---------6-------|-0---0-----------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Here is another instance where there is a questionable fifth (in this case an F) being played on the 2nd string. This high F is evident only after the chord is played, so it is possible that it is an overtone from the bass F played at the beginning of the measure. Once again, the third (D) is definitely not there.

2.

From four video sources, Steve plays this D chord open with his 1 finger on the G string (A) and 2 finger on the B string (D). His 3 and 4 fingers are in the air. From the YMP video, he plays the chord with the pick and “m” finger as shown.

3.

For the YMP chart, the right hand picking is Steve’s as verified on YMP video, which has a fantastic shot here.

4.

He definitely plays an A here on NNA, which creates a bit of dissonance. It may be a mistake.

5.

The YSG version has this interesting open A variation in the 4th bar. He really bangs the two open As and then the open D.

Chart 14 14 –>> TYA, CD2= 1:03 N 1 * * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#...........................................* R a m m m * a a m * a a m * R P P P P * P P P P * P P P P * E----3-------------|----13-----------------|---11--------------------------------------------------| B---(0)--0---1---0-|-------x-------11(11)--|------x------9-----------------------------------------| G---(0)0-------x-0-|-------x----------10-0-|(8)---8--------8--0------------------------------------| D------0--(2)--2---|-10---------------12---|-8-------(10)--10--------------------------------------| A--2-------3-------|------------13---------|----------11-------------------------------------------| E--3---------------|-----------------------|-------------------------------------------------------| ..|...|...|...|...*.|.....|....|.....|....*.|....|...|....|.......................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

14 –>> YMP, CD3= 1:34 N 2 * * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#...........................................* R m m * m m * m m * R P P P P * P P P P * P P P P * E----3-------------|----13-----------------|---11--------------------------------------------------| B---(0)------1-----|-------10------11------|------8------9-----------------------------------------| G------0-------0---|-10----10--------(10)--|(8)---8--------8---------------------------------------| D------0---2---2---|-10---------12----12---|-8--------10---10--------------------------------------| A-(2)------3-------|------------13---------|----------11-------------------------------------------| E--3---------------|-----------------------|-------------------------------------------------------| ..|...|...|...|...*.|.....|....|.....|....*.|....|...|....|.......................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

14 –>> NNA, CD22= 0:56 N * * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#...........................................* R a a m m * a m a m * a m a a * R P P P P * P P P P * P P P P * E----3(3)3---------|----13-----------------|---11--------------------------------------------------| B----0-0-0---1---0-|------(10)0----11------|--------0----9----0------------------------------------| G----0-0-0-----0---|-------10---------10-0-|------8-------(8)(0)-----------------------------------| D---(0)0(0)----2---|-10--------------(12)--|-8--------10---10--------------------------------------| A-(2)------3-------|------------13---------|----------11-------------------------------------------| E--3---------------|-----------------------|-------------------------------------------------------| ..|...|...|...|...*.|.....|....|.....|....*.|....|...|....|.......................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 16 

14 –>> YSG N 1 3 4 * * * ...G.......C.......*.F/C........A#.........*.D#/A#....G#...........................................* R a m m * a a * a a m * R P P P P P * P P P P * P P P P * E----3=>-----------|----13-----------------|---11--------------------------------------------------| B--0(0)0-----1---0-|---------------11------|------8------9----x------------------------------------| G--0=>-0--(0)--x---|-10----10---------10---|-8----8--------8--0------------------------------------| D--0=>-0-0-2---x---|-10---------12----12---|-8--------10---10--------------------------------------| A--2=>-----3-------|------------13---------|----------11-------------------------------------------| E--3---------------|-----------------------|-------------------------------------------------------| ..|...|...|...|...*.|.....|....|.....|....*.|....|...|....|.......................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

On TYA and YSG, this bar is sort of “slurred,” but it has a very definite picking pattern to it. (Some transcriptions have missed this, showing strummed chords here.)

2.

For the YMP chart, the right hand picking is Steve’s as verified on the YMP video.

3.

On YSG, the low B clearly seems to be played following the low G and at the same time as the high G (i.e., at the 1& beat)—it has “attack.” However, I believe he is playing the low B at the same time as the low G and that the B is just sustaining as shown. In other words, the attack is an illusion. My reasons are (1) the alternati ve—the low B with the high G on an off beat—would be so a wkward to play, (2) I’ve heard other evidence of similar audio illusions, (3) when slowed down like 10 times, the strummed notes of the G chord are just discernible as shown (there is lots of distortion and echo), and (4) the low B pops out slightly before the high G, suggesting that they were not played together. How to explain the illusion? Perhaps the high B (open) is resonating with and amplifying the low B on the 1& beat.

4.

On YSG, this open D sure sounds like it’s been played. The video does not show his right hand here so I assume it’s picked. But this seems awkward. Why not a finger-picked open B as i n TYA? The answer I think is that t his G phrase—including perhaps the high G—is mostly being played with the pick.

Chart 15 15 –>> TYA, CD2= 1:06 N * 1 2 * 3 * 4 * ...D/A..............*.D7/A..............*.D...............*.D7/A...................................* R a a * a m a m * a m * a m a m m * R P P P P * P P P P * P P P P * P P P P * E------10----10-----|-8------8----------|-----------------|----------------------------------------| B-----(7)-----------|---10-------10-----|-----3-------3---|-1-----0-------0------------------------| G---------------x---|---------------7---|----(2)----2-2---|---2-------2-2-0------------------------| D------7--------x---|------7--------7---|-----0-------0---|-----0-------0--------------------------| A--0----------------|-0-----------------|-0-------0-------|-0--------------------------------------| E----------0--------|----------0--------|-----------------|---------0------------------------------| ..|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|..........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

15 –>> YMP, CD3= 1:38 N * 1 5 * 3 * 6 7 * ...D/A..............*.D7/A..............*.D...............*.D7/A...................................* R a a * a m a m * a m * a a a m m * R P P P P * P P P P P * P P P P * P P P P * E------10----10-----|-8------8----------|-----------------|----------------------------------------| B-------------------|---10-------10-----|-----3------(3)--|-1-1---0---0----------------------------| G---------------7---|------7----------0-|-----2-----2-2---|-----------2-2(2)-----------------------| D--7---7--------7---|------7--------x-0-|-0---0-------0---|-----0-------0--------------------------| A--0----------------|-0--------0--------|-0-------0-------|(0)------0------------------------------| E----------0--------|-------------------|-----------------|----------------------------------------| ..|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|..........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

15 –>> NNA, CD22= 0:59 N * 1 8 * 3 * 9 * ...D/A..............*.D7/A..............*.D...............*.D7/A...................................* R a a * a m a m m * a m * a m a a m * R P P P P * P P P P * P P P P * P P P P * E------10----10-----|-8------8----------|-----------------|----(2)---------------------------------| B-------------------|---10-------10-----|-----3-----------|-1-----0--------------------------------| G---------------x---|------7--------7-0-|----(2)----2-2---|---2-------2-2--------------------------| D------7--------x---|------7------------|-----0-------0---|-----0-------0--------------------------| A--0----------------|-0--------0--------|-0-------0-------|-0-------0------------------------------| E----------0--------|-------------------|-----------------|----------------------------------------| ..|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|..........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 17 

15 –>> YSG N 10 * 1 * 3 * * ...D/A..............*.D7/A..............*.D.......D7/A....*........................................* R a a * a m a m * a a * a m a a a * R P P P P * P P P P P * P P P P * P P P P * E------10----10-----|-8------8----------|-----------------|----------------------------------------| B-------------------|---10-------10-----|-----3-----1-----|-1-----0---0---0------------------------| G------7--------7---|---------------7-0-|-----2-------2---|---2-----2---2--------------------------| D-(7)-(7)-------7---|(7)--(7)-(7)---7-0-|-0---0---x---0---|(0)------0---0--------------------------| A--0-------0--------|-0----0---0--------|-0-------x-------|-0---0----------------------------------| E----------0--------|-------------------|-----------------|----------------------------------------| ..|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|..........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Keep the barre and play the 8th fret with 2 finger and the 10th fret with 4 finger. On the YSG video, it is clear that Steve fingers the 10th fret just long enough to play the note; he does not hold his 4 finger down as I have tendency to do. I doubt that he’s worried about damping the high E string because it’s easy to avoid this. He must not want the A note to sustain.

2.

Hold and slide this A down the neck after the following bass note.

3.

Use 2 finger on the 2nd fret and 3 finger on the 3rd fret.

4.

On TYA, Steve seems to give this C note a slight bend.

5.

On YMP, I’m guessing this is a backstroke with the pick.

6.

On YMP, this C note seems to get double picked. It may be a mistake, but I hesitate to say so because it happens again in chart 16.

7.

On YMP, the open B is definitely there (again).

8.

On NNA, hold and slide this D down before picking the open G. Also, the A in the bass (7th fret) is definitely not there.

9.

On NNA, I hear a very faint high F#. It may be a quick hammer on from open E, or it may be some kind of strange F# overtone. NNA is a fairly poor recording so it’s tough to tell. This note sounds pretty cool regardless.

10.

If you’ve ever seen the YSG version, you know that Steve is just  pounding his guitar. This comes out as frequent double-string strikes with the pick. In a sense it’s sloppy playing, but there are no sour notes possible, and the effect is great. It’s supercharged sound, full of life and soul.

Chart 16 16 –>> TYA, CD2= 1:11 N 1 * 2 * * 3 4 * ....D/A..............*.D7/A..............*.D...............*.D7/A..................................* R a a * a m a m * a m * a m a m * R P s P P P * P P P P * P P P P * P P P P * E-------10----10-----|-8------8----------|-----------------|---------------------------------------| B------(7)-----------|---10---7---10-----|-----3-------3---|-1-----0-------------------------------| G----------------x---|-------------------|----(2)----2-2---|---2-------2---------------------------| D-2-7---7--------x---|------7--------7---|-----0-------0---|-----0-------0-------------------------| A--------------------|-0--------0--------|-0-------0-------|-0-------0-----------------------------| E-----------0--------|-------------------|-----------------|---------------------------------------| .|.....|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

16 –>> YMP, CD3= 1:42 N * * * 4 * ....D/A..............*.D7/A..............*.D...............*.D7/A..................................* R a a * a m a m * a m * a a a m * R P P P P * P P P P P * P P P P * P P P P * E-------10----10-----|-8------8----------|-----------------|---------------------------------------| B--------------------|---10-------10-----|-----3-----------|-1-1---0-------------------------------| G----------------7---|---------------7-0-|-----2-----2-2---|-----------2-2-------------------------| D-------7--------7---|------7--------7-0-|-0---0-------0---|-----0-------0-------------------------| A---0----------------|-0--------0--------|-0-------0-------|(0)------0-----------------------------| E-----------0--------|-------------------|-----------------|---------------------------------------| ...|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 18

16 –>> NNA, CD22= 1:03 N * 2 * * 4 * ....D/A..............*.D7/A..............*.D...............*.D7/A..................................* R a a * a m a m * a m * a m a m * R P P P P * P P P P P * P P P P * P P P P * E-------10----10-----|-8------8----------|-----------------|---------------------------------------| B--------------------|---10-------10-----|-----3-------3---|-1-----0-------------------------------| G----------------7---|-----------------0-|-----2-----2-2---|---2-------2-2-------------------------| D-------7--------7---|------7--------x---|-----0-------0---|-------------0-------------------------| A---0----------------|-0--------0--------|-0-------0-------|-0---0---0-----------------------------| E-----------0--------|-------------------|-----------------|---------------------------------------| ...|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

16 –>> YSG N * 5 5 * 6 * 4 * ....D/A..............*.D7/A..............*.D.......D7/A....*.......................................* R a a * a m a m * a a * a m a m * R P P P P * P P P P P * P P P P * P P P P * E-------10----10-----|-7------7----------|-----------------|---------------------------------------| B--------------------|---10-------10-----|-----3-----1-----|-1-----0-------------------------------| G-------7--------7---|-----------------0-|-----2-------2---|---2-------2---------------------------| D-------7--------7---|(7)--(7)-(7)--(7)--|-0---0--(0)--0---|(0)----------0-------------------------| A---0----------------|-0----0---0----0---|-0---0---0-------|-0---0---0---0-------------------------| E-----------0--------|-------------------|-----------------|---------------------------------------| ...|...|...|....|...*.|....|...|....|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

On TYA, slide up from 2nd to 7th fret over the first beat.

2.

Hold and slide this A down the neck after the following bass note.

3.

On TYA, Steve seems to give this C note a slight bend.

4.

From YMP video, Steve seems to double-pick this note and the preceding C with his “m” finger. I find it easier to use “a” and then “m.”

5.

On the 16th chart of YSG only, he plays a B instead of the usual C. You’ll notice that he always plays both the B and C at the nut-position version of this phrase (i.e., the 4th bar of charts 15 and 16), but this is the only time he plays any B at the 7th position. This is also clearly visible on the YSG video (charts 15 and 16 are both shown in close up).

6.

On YSG, this tab looks like a strum, but play it “sloppy” with both pick and “a” (or “m”) finger.

Chart 17 17 –>> TYA, CD2= 1:14 N * 1 * 2 3 * 4 5 * ...................*.................*.................*...........................................* * L 3 3 1 2 2 3 2 * 1 2 2 2 * R a m a m * a m a m * ^ v ^ v ^ * v ^ v ^ v ^ v * R P P P P * P P P P P * P s P P s P P p * P P h P P P P P * E------------------|-----------------|-----------------|-------------------------------------------| B--1-----0---------|-1-----0---------|-----------------|-------------------------------------------| G----2-------2-----|--(2)------2-2-0-|-5-4-2-----------|-----------0-------------------------------| D------0-------0---|-----0-------0---|-------3-2-0-----|-----------0---0---------------------------| A--0-------0-------|-0-------0-------|-------------3-2-|-0-----0-2---2-----------------------------| E------------------|-----------------|-----------------|---1-2-------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

17 –>> YMP, CD3= 1:47 N * 6 * 2 3 * 4 5 * ...................*.................*.................*...........................................* * L 3 3 1 2 2 3 2 * 1 2 2 2 * R a m a m * a m a m * ^ v ^ v ^ * v ^ v ^ v ^ v * R P P P P * P P P * P s P P s P P p * P P h P h P P P * E------------------|-----------------|-----------------|-------------------------------------------| B--1-----0---------|-1-----0---------|-----------------|-------------------------------------------| G----2--(2)--2-2---|---2---2---2-2---|-5-4-2-----------|-------------------------------------------| D------0-------0---|-----0-------0---|-------3-2-0-----|-----------0---0---------------------------| A--0-------0-------|-0---------------|-------------3-2-|-0-----0-2---2-----------------------------| E------------------|-----------------|-----------------|---1-2-------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 19

17 –>> NNA, CD22= 1:08 N 7 * 8 1 * 2 3 * 4 5 * ...................*.................*.................*...........................................* * L 3 3 1 2 2 3 2 * 1 2 2 2 * R a m a * a m a * ^ v ^ v ^ * v ^ v ^ v ^ v * R P P P P * P P P P P * P s P P s P P p * P P h P h P P P * E--------2---------|-----------------|-----------------|-------------------------------------------| B--1-----0---------|-1-1---0---------|-----------------|-------------------------------------------| G----2--------(2)--|-----------------|-5-4-2-----------|-------------------------------------------| D------0-------0---|-----0-----0-----|-------3-2-0-----|-----------0---0---------------------------| A--0-------0-------|-0-------0---0---|-------------3-2-|-0-----0-2---2-----------------------------| E------------------|-----------------|-----------------|---1-2-------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

17 –>> YSG N * * 2 3 * 4 5 * ...................*.................*.................*...........................................* * L 3 3 1 2 2 3 2 * 1 2 2 2 * R a m a m * a m a m m * ^ v ^ v ^ * v ^ v ^ v ^ v * R P P P P * P P P P * P s P P s P P p * P P h P P P P P * E------------------|-----------------|-----------------|-------------------------------------------| B--1-----0---------|-1-----0-------0-|-----------------|-------------------------------------------| G----2-------2-----|---2-------2-2---|-5-4-2-----------|-------------------------------------------| D--------------0---|-------------0---|-------3-2-0-----|-----------0---0---------------------------| A--0---0---0---0---|-0---0---0-------|-------------3-2-|-0-----0-2---2-----------------------------| E------------------|-----------------|-----------------|---1-2-------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Play this interval with emphasis.

2.

The right and left hand techniques shown for this lick are Steve’s as verified on the QPR and YMP videos (except as noted).

3.

Pull off instead of slide this time. On QPR video, Steve clearly does this. On the YSG audio, you can clearly hear the different sound the pull-off produces compared to the previous two slides.

4.

Hammer on the F#. Also, on QPR video Steve uses his 2 and 3 fingers to play the F and F#. I can’t understand why—to me it’s more natural and easier with the 1 and 2 fingers. My left hand fingering is shown.

5.

On the early versions (TYA and YSG), Steve seems to have picked this note. (On TYA, you can hear the “click” of the pick hitting the string.) On the later versions—including QPR which is not shown—it seems to be a hammer-on since there is no attac k. The QPR and YMP videos verify this. The t wo upstrokes surrounding the hammer-on may seem awkward, but that is how Steve plays it and they do fit time-wise.

6.

On YMP, this bass note is just not there. The previous B note sustains through this beat, but that’s always true in this passage, even when there is a bass note. A mistake?

7.

On NNA, this F# is interesting for two reasons: (1) just because it’s there at all and (2) at 6x speed you can actually hear a slight delay between the F# and the open B as he drags his finger over the two strings.

8.

On NNA, this open D does not occur as the 4th beat. Here it is the 3& beat. The following open A lands on the 4th beat. Also, I’m guessing that he used the pick to play the D, which would sort of give him a jump start on the following lick.

Chart 18 18 –>> TYA, CD2= 1:19 N 1 2 3 3 3 * 3 3 3 3 3 3 4 * 5 * * .......................*.....................*.G...G7..G.G7..G.*.G7G...G7....G.....................* L 2 3 1 3 1 4 3 1 3 1 * 4 3 1 3 1 4 3 1 3 * * * R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P h P P P P p P P P * P p P P P P p P P P * P P P P P P P * P P P P P P P * E----------------------|---------x-8-7-5-5---|-----1-1---1-----|-1-----1--(1)----------------------| B--------------------3-|-6-5-3--------(0)7-0-|-----0-0-3-0-0-3-|-0-3-3-0---0-3---------------------| G------2-4-2-5-4-2-----|-------5---------0-0-|-0---0-0---0-0-0-|-0-0-0-0---0-0-0-------------------| D--3-4-------------4---|-------------------0-|-0---0-0---0-0-0-|-0---0-0---0-0-0-------------------| A----------------------|---------------------|-2---2-----2-----|-2---2-2---2-2---------------------| E----------------------|---------------------|-3---3-----------|-3---------------------------------| ....|...|...|.....|...*.|.....|...|.....|...*.|...|...|...|...*.|...|...|...|.....................* t 1 & 2 & 3 4 & * 1 2 & 3 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 20

18 –>> YMP, CD3= 1:52 N 1 2 3 3 6 * 3 3 3 3 3 3 * 5 * * .......................*.....................*.G...G7..G.G7..G.*.G7..G.G7..G.......................* L 2 3 1 3 1 4 3 1 3 1 * 4 3 1 3 1 4 3 1 3 * * * R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P h P P P P p p P P * P p P P P P p P P P * P P P P P P P * P P P P P P P P * E----------------------|---------5-8-7-5-----|-----1-1---1-1---|-1-1---1-1-----0-------------------| B--------------------3-|-6-5-3(3)--------7---|-----0-0-3-0-0-3-|-0-0-3-0-0-3-3-3-------------------| G------2-4-2-5-4-2-----|-------5-----------0-|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0---------------------| D--3-4-------------4---|-------------------0-|-0---0---0-0-0-0-|-0-0-0-0-0---0---------------------| A----------------------|-------------------2-|-2---2---2-------|-2---2-----------------------------| E----------------------|-------------------3-|-3---3---3-------|-3---3-----------------------------| ....|...|...|.....|...*.|.....|...|.....|...*.|...|...|...|...*.|...|...|...|.....................* t 1 & 2 & 3 4 & * 1 2 & 3 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

18 –>> NNA, CD22= 1:12 N 1 2 3 3 6 * 3 3 3 3 3 3 * 5 * * .......................*.....................*.G...G7..G...G7G.*.G7..G.G7....G.....................* L 2 3 1 3 1 4 3 1 3 1 * 4 3 1 3 1 4 3 1 3 R * * R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P h P P P P p p P P * P p P P P P p P P P * P P P P P P * P P P P P P * E----------------------|---------5-8-7-5(5)--|-----1-1-----1---|-1-1---1---1-----------------------| B--------------------3-|-6-5-3-----------7---|-----0-0-3---0-3-|-0-0-3-0---0-3---------------------| G------2-4-2-5-4-2-----|-------5-----------0-|-0---0-0-0---0-0-|-0-0-0-0---0-0---------------------| D--3-4-------------4---|-------------------0-|-0---0-0-0---0-0-|-0-0-0-0---0-0---------------------| A----------------------|---------------------|-2---2-------2---|-2---2-------2---------------------| E----------------------|---------------------|-3---3------(3)--|-3---3-------3---------------------| ....|...|...|.....|...*.|.....|...|.....|...*.|...|...|...|...*.|...|...|...|.....................* t 1 & 2 & 3 4 & * 1 2 & 3 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

This combination of the picked C and the hammered C# is a slur that occupies the same amount of time (eighth note) as the C# would if played alone. The C is an ornamental note that just precedes the “main” C# in a minimal amount of time. It really isn’t quite a triplet (as some scores show).

2.

From QPR video, Steve clearly hammers on here with 3 finger.

3.

Triplet.

4.

On TYA, the open G is there, but I doubt it was intended. It’s a bit of a sour note next to the main F#. (The F# on the 7th fret is of course the note that should be played by the 3 finger according to my left hand notation.)

5.

See note 2 of chart 12.

6.

On YMP and NNA, the last note in only the first triplet has no attack and thus seems to be a pull-off. On the YMP video, his right hand picking technique looks the same for all three triplets, but the 3rd string does not seem to move here.

Chart 19 19 –>> TYA, CD2= 1:23 N 1 2 3 * 4 * * * ...D#°.....F#°.....*.........D°..D7..*.G...G7..G.G7..G.*.G7..G.G7..G...............................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P * P P P P * P P P P P P P * P P P P P P P P * E----2-----5-----7-|---7-8---4---2---|-----1-1---1-1---|-1-1---1-1-----0---------------------------| B----1---0-4-----5-|---5-x---3---1---|-----0-0-3-0-0-3-|-0-0-3-0-0-3-3-0---------------------------| G--2-2-2-x-5-----7-|-----7---4---2---|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0-----------------------------| D--1-1-1---4----(7)|----(7)--0-------|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0-----------------------------| A--0-------0----(0)|-----------------|-2---2-2-2-2-2-2-|-2-2-2-2-2---2-----------------------------| E------------------|-----------------|-3---3---3-3-3-3-|-3-----3-----3-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

19 –>> YMP, CD3= 1:57 N * 5 * * * .....D7............*.................*.G...G7..G.G7..G.*.G7..G.G7....G.............................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P P * P P P P P P P P * P P P P P P P * P P P P P P P * E----2-----5-----7-|-7-7-8---5-x-2---|-----1-1---1-1---|-1-1---1-1-1-------------------------------| B--x-1-x-0-3---x-5-|-5-5-x-x-3-x-1-x-|-----0-0-3-0-0-3-|-0-0-3-0-0-0-3-----------------------------| G--x-2-x-x(5)--x(7)|-7---7-x(5)x-2-0-|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0-----------------------------| D------------------|--------(0)-(0)0-|-0---0-0-0-0-0-0-|-0-0-0-0-0-0-0-----------------------------| A------------------|--------(0)------|-2---2---2---2---|-2-2-2-2-2-2-2-----------------------------| E------------------|-----------------|-3---3---3---3---|-3---3-3-3-3-3-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 21

19 –>> NNA, CD22= 1:16 N * * * * .....D7............*.................*.G...G7..G.G7..G.*.G7..G.G7....G.............................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P * P P P P P P P * P P P P P P P * P P P P P P P * E----2-----5-----7-|---7-8---5---2---|-----1-1---1-1---|-1-1---1---1---0---------------------------| B----1---0-3-----5-|---5-5-x-3-x-1-0-|-----0-0-3-0-0-3-|-0-0-3-0---0-3-0---------------------------| G--2-----x-5-----7-|---7-7-x-5-x-2-0-|-0---0-0-0-0-0-0-|-0-0-0-0---0-0-0---------------------------| D----------0-------|-----0---0---0-0-|-0---0-0-0-0-0-0-|-0-0-0-0---0-0-----------------------------| A------------------|-----------------|-2---2---2-2-2---|-2-2-2-2---2-2-----------------------------| E------------------|-----------------|-3---3---3-3-----|-3-3-3-3---3-3-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

On TYA, this part seems to have been still evolving in Steve’s mind. This is no mistake. He is playing diminished chords. The first bar contains D# and then you hear no D until the last part of the second ba r. I know this is strange, but that’s what he played! If you play it slow, it sounds terrible, but i f you play it fast, it sort of works.

2.

This is strange too. I think he plays the open A with the F#° chord. But the A jumps out—with full attack—after the chord. My guess is that this “attack” is an illusion caused by the combination of sustain on the open A when the chord fingering is lifted and the analog recording dynamics. The chord is gone, and so the A sounds louder. The A is audible during the chord (before the “atta ck”). But it could be left over from the first chord.

3.

I hate parentheses as much as anyone. But these are very important because if he’s playing the A on the 7th fret of the D string, it affects how the chord is fingered. Unfortunately, I can’t say for sure after listening many times at 6x speed. Here’s what I hear: The open A, which is still ringing from before, seems to get a slight boost in volume. For me, it’s always nearly impossible to distinguish a higher adjacent octave in a chord. But there is definitely no D, and see note 4.

4.

The open A is gone, and there is still no D. I can hear a very soft A octave, which would have to be on the 7th fret. This is what makes me think he’s fingering the 7th here and at note 3. But it might be some kind of crazy overtone!  If he is playing the A on the 7th, he changed this fingering by the time YSG was recorded two years later—but he definitely changed the diminished chords so maybe he changed this chord too. Note t hat the fingering for this hypothetical chord flows quite easily from the dimi nished chord fingering—slide 3 and 4 fingers up, move 1 and 2 fingers. Another Clap mystery.

5.

On YMP, the C on the 5th fret is just barely audible. Instead, I hear a lot of “middle” A (2nd fret on G string). From video, this is impossible because his 2 finger is clearly on the C. I don’t really hear the low (open) A, but you can see the st ring vibrate on video. So the effect must be that the open A i s producing an octave tone that sounds identical to the middle A of the following D7 chord! Very strange indeed. If not for the video c opy of YMP, I would be totally lost here!

Chart 20 20 –>> TYA, CD2= 1:28 N 1 2 3 * * 4 * * ...A...A7..........*.................*.................*...........................................* R ^ m ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P s P P P s * P P P P P P s * P s P * * E----0-------------|(0)--------------|----(0)----------|---7---7---7-------------------------------| B--1-2-2-----2-2---|-3=>---5---5-7-5-|-7-5-5---5-5-5-5-|-5-5-5-5-5-5-5-----------------------------| G--1-2(0)----x-x---|-0=>---0---0-0---|-0---0---0-0-0-0-|-0-0-0-0-0-0-0-----------------------------| D--1-2-2-----2-2-4-|-4=>-x-5-5---7-5-|-7-5-5---5-5-5-5-|-5-5-5-5-5-5-5-----------------------------| A--0---0-----------|----(0)----------|-----------------|-0-----------0-0---------------------------| E------------------|-----------------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

20a –>> YMP, CD3= 2:02 N * 5 * * * * ...A7..............*.............*.............*.............*.....................................* R ^ ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * R P s P P P P * P s P P s * P s P P s P * P s P P s P * P s P P s * E------0-----0-----|-----0-------|-----0-----0-|-----0-----0-|-----0-----0-------------------------| B--1-2-2-----2-2-x-|-1-2-2-1-2---|-1-2-2-1-2(2)|-1-2-2-1-2---|-1-2-2-1-2-2-------------------------| G--x---0-----0-0-0-|-0---0-0-----|-0---0-0--(0)|-0---0-0-----|-0---0-0-----------------------------| D--1-2-2-------2---|-1-2-2-1-2---|-1-2---1-2---|-1-2-2-------|-1-2-2(1)----------------------------| A--0---------------|-------------|-------------|-0---0-------|-0-----------------------------------| E------------------|-------------|-------------|-------------|-------------------------------------| ..|...|...|...|...*.|...|...|...*.|...|...|...*.|...|...|...*.|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & * 1 & 2 & 3 & * 1 & 2 & 3 & * 1 & 2 & 3 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 22

20b –>> YMP, CD3= 2:06 N 5 * * * * * * ...A7..........*.............*.............*.............*.............*...........................* R ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * ^ v ^ v ^ v * R P P P P P P * P P P P P P * P P P P P P * P P P P P P * P P P P P * P P P P P P * E--3-x---2---x-|-3-0---2---x-|-3-0---2---x-|-3-0---2---x-|-3-0---2---0-|-3(0)--2---0---------------| B--2-x-x-2-x-x-|-2-2-x-2-x-x-|-2-2-x-2-x-x-|-2-2-x-2-x-x-|-2-2-x-2---2-|-2-x-x-2-x-2---------------| G--0-x-x-0-x-x-|-0-x-x-0-x-x-|-0-x-x-0-x-x-|-0-0-x-0-x-x-|-0-x-x-0-----|-0---x-0-x-----------------| D-(2)--2--(2)--|-2---2---x---|-2---x---x---|-2---x---x---|-2---x-------|-2---2---2-----------------| A--------------|-------------|-------------|-------------|-------------|----(0)-(0)----------------| E--------------|-------------|-------------|-------------|-------------|---------------------------| ..|...|...|...*.|...|...|...*.|...|...|...*.|...|...|...*.|...|...|...*.|...|...|.................* t 1 & 2 & 3 & * 1 & 2 & 3 & * 1 & 2 & 3 & * 1 & 2 & 3 & * 1 & 2 & 3 & * 1 & 2 & 3 & *

20c –>> YMP, CD3= 2:12 N * * 6 * * ...A7..............*.................*.................*...........................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ * v ^ ^ v ^ v * R P s P P P s * P P P P P P P * P P m P P * m P P m P P P * E------------0---0-|-----------0---0-|-x---0-----7-----|-7-----7---7-------------------------------| B--1-2-2-----2-2-2-|-3=>-0-5---5-7=>-|-7(0)5-------5---|---5-------5---x---------------------------| G--0---0-------0-0-|-0=>-0-0--(0)x---|-0---0---------0-|-----0-------0-----------------------------| D--1-2-2-------2---|-4=>-x-5-x---7=>-|-7---5-----------|-------------5-----------------------------| A--0---0-----------|-----------------|-----------------|-------------0-----------------------------| E------------------|-----------------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

20 –>> NNA, CD22= 1:20 N * * 7 * * ...A7..............*.................*.................*...........................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ * * R P P P P P P P * P P P P P P P * P P t t * t t t t t * E------------0-----|-------0---0---0-|-0---0---!---!---|-!---!-!---!-!-----------------------------| B--2---2-0-2-2---0-|-3=>-0-5---7-7-7-|-7---5---t---s---|-t---s-t---t-t-----------------------------| G--0---0--(0)--0-0-|-0=>-0-0---0-0-0-|-0---0---o---i---|-o---i-o---o-o-----------------------------| D--2---2-------2---|-4=>-x-5-----7---|-7---5---p---d---|-p---d-p---p-p-----------------------------| A--0---0-----------|-----------------|---------!---e---|-!---e-!---!-!-----------------------------| E------------------|-----------------|---------!---!---|-!---!-!---!-!-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

20 –>> QPR N * * * * ...A7..............*.................*.A7..............*...........................................* R ^ v ^ v ^ v ^ v * * ^ v ^ v ^ v ^ v * * R P P P P P * t t t t t * P P P P * t t t t t * E-----(0)----0-0-0-|-!-!---!---!-!---|-----------0-0---|-!-!---!---!-!-----------------------------| B--1---2-----2-2---|-t-s---t---t-t---|-2---2-----2-2---|-t-s---t---t-t-----------------------------| G--0---0-------0---|-o-i---o---o-o---|-0---0-----0-0---|-o-i---o---o-o-----------------------------| D--1---2-----------|-p-d---p---p-p---|-2---2-------2---|-p-d---p---p-p-----------------------------| A--0---0-----------|-!-e---!---!-!---|-0---0-----------|-!-e---!---!-!-----------------------------| E------------------|-!-!---!---!-!---|-----------------|-!-!---!---!-!-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

On TYA, he starts out playing an A major chord. You can hear the G# slide up to A. I’m not sure about the left hand fingering here. He may play a barre on the 1st fret, slide it to the 2nd, and then quickly transition to the A7 position (this is a bit awkward). Or he may finger it 2, 1, 3 (left hand) on D, G, and B strings. I think this is it because of note 3.

2.

On TYA, I hear this high E just after the strum and during the slide. I’m not sure of this (it may be another analog trick as in chart 19), but this technique—strum on downstroke, play high end only with finger on upstroke—is very easy and sounds quite good. Of course, he may be using the pick  instead of fingers for the upstroke.

3.

The middle A seems to be pulled off to open G, which then quickly gets damped. This is very faint, but audible at 6x speed. It is important because it gives clues about his left hand fingering throughout this bar. If it’s a pull-off, he makes the transition from A to A7 here, and t he previous A chord must have been fingered 2, 1, 3 on the D, G, and B strings.

4.

He may be doubling the high E of the 5th fret (B string) with the open E. It’s hard to tell. Similarly, there is G played here and on the following 10 strums, but whether he plays both the G of the 5th fret (D string) and open G or just open G alone i s hard to tell. My best guess i s shown.

5.

On YMP, all but the first measure in chart 20a and all of chart 20b are in 6/8 time. The 6/8 stuff in 20a is easier to play if you remember the right-hand pattern of down-slide-down, up-slide-up. It’s a bit a wkward at first. This is what Steve does from YMP video.

6.

On YMP, this right-hand picking sequence is from video. The basic pattern is “m,” up, down.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 23

7.

Steve frequently taps percussion on his guitar in this part of the song. I am indicating tapping with a “t,” and it’s on either the guitar’s top or side, which I’ve indicated on the chart itself. If it’s the top, Steve uses his right-hand finger ti ps on the pick guard. (If you have nails li ke me, you may want to use your knuckles instead to reduce the sharp attack.) If it’s the side, Steve brings his left hand in and taps the side with his finger tips just below the neck. This observation is from QPR video. The top gives a lower pitch tap, and t he side gives a higher pitc h tap. I’ve noticed that he’ll always end up tapping the top so that he has time to move his left hand back to the neck. I’ve also noticed that kids love this!

Chart 21 21 –>> TYA, CD2= 1:32 N * 1 * * * ...A7..............*...................*.....................*.....................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P s P P P P P * P P P P PsP P * P P P P * P P P P P P P P * E------0---x-0---0-|-------------------|------10-----10---10-|-10-10-10-10-10-10-------------------| B--1-2-2-----2-2-2-|-3---x-5-----10-10-|-10---8------8----8--|-8--8--8--8--8--8----2---------------| G--0---0-----0-0-0-|-0---x-0-0-0-0--0--|-0----0------0----0--|-0--0--0--0--0--0--0-0---------------| D--1-2-2------(2)--|-4---x-5-5-5-11-11-|-11---9------9----9--|-9--9--9--9--9--9--2-2---------------| A--0---0-----------|---------0---0-----|(0)------------------|-------------------0-----------------| E------------------|-------------------|---------------------|-------------------------------------| ..|...|...|...|...*.|...|...|...|.....*.|....|....|....|....*.|.....|.....|.....|.................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

21 –>> QPR N * * 2 3 * 4 * ...A7..............*...................*..................*........................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ * * R P P P P P P * P P P P P P P P * P P t t t * t t t t t t * E----------0-0-0---|----------------0--|-0--------!-!---!-|---!-!-!-!-!-!--------------------------| B--2---2---2-2-2-0-|-3-x---5-x-5-10-10-|-10---8---t-s---t-|---t-t-s-t-t-t--------------------------| G--0---0---0---0-0-|-0-x-x-0-0-0-0--0--|-0----0---o-i---o-|---o-o-i-o-o-o--------------------------| D--2---2-------2---|-4---x---x-5-11----|-11---9---p-d---p-|---p-p-d-p-p-p--------------------------| A--0---0-----------|-------------------|----------!-e---!-|---!-!-e-!-!-!--------------------------| E------------------|-------------------|----------!-!---!-|---!-!-!-!-!-!--------------------------| ..|...|...|...|...*.|...|...|...|.....*.|....|...|...|...*.|...|...|...|..........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Slide up just after playing, within the eighth note. Keep your 2 finger on the D string all the way. You can hear the slide on TYA. On the B string you need to change fingers half way through, so the slide gets lost.

2.

There seems to be a faint high D here (like TYA), but the QPR video clearly shows that his 4 finger is in the air.

3.

On QPR, note that this tapping rhythm parallels and adds to the ones in chart 20.

4.

There almost seems to be a slight dotted feel in the fourth measure of QPR, but it is essentially eighth notes starting on the 1& beat.

Chart 22 22 –>> TYA?, CD2= 1:37 N * * * * ...A7..............*...................*.A7....................*...................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P * P P P P P s P P * P P P P P P * P P P P P P P P * E------------------|-------------0--0--|-0----0----0--0--0--0--|-0--0--0--0--0--x------------------| B------2-----2-2-0-|-3-3-x-5-5-5-14-14-|-14---12---12-12-12-12-|-12-12-12-12-12-x-10-10------------| G--0---0-----0-0-0-|-0-0-x-0-0---0--0--|-0----0----0--0--0--0--|-0--0--0--0--0--x-0--0-------------| D--0---2-----2-2-2-|-4-4-x-5-5-5-14-14-|-14---12---12-12-12-12-|-12-12-12-12-12---11-11------------| A--0---------------|-------------------|-----------------------|-----------------------------------| E------------------|-------------------|-----------------------|-----------------------------------| ..|...|...|...|...*.|...|...|...|.....*.|....|....|.....|.....*.|.....|.....|....|................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 24

Chart 23 23 –>> TYA?, CD2= 1:41 N * * * * ......................*........................*.......................*...........................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P * P P P P P s P P * P P P P P P * P P P P P P P P * E--0----10-----10-----|-10-10-10-10-10---------|------0----0--0--0--0--|-0--0--0--0--0--0----------| B--10---8------8--x---|-8--8--8--8--8--8-14-14-|-14---12---12-12-12-12-|-12-12-12-12-12-12-10-10---| G--0----0----0-0--x-0-|-0--0--0--0--0-------0--|-0----0----0--0--0--0--|-0--0--0--0--0--0--0--0----| D--11---9------9------|-9--9--9--9--9--9-14-14-|-14---12---12-12-12-12-|-12-12-12-12-12-12-11-11---| A---------------------|------------------------|------0----------------|---------------------------| E---------------------|------------------------|-----------------------|---------------------------| ..|....|....|....|...*.|.....|.....|....|.....*.|....|....|.....|.....*.|.....|.....|.....|.......* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

Chart 24 24 –>> TYA?, CD2= 1:46 N * * 1 * 1 * ........................*........................*.......................*.........................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P s P P P P * P P P P P s P P * P P P P P P * P P P P s P * E--0----10-----10-10-10-|-10-10-10-10-10---------|-------0----14---------|----------10-------------| B--10-8-8------8--8--8--|-8--8--8--8--8--8-14-14-|-14-12-12---12---10-10-|-10-8-8---8----8-14------| G--0----0------0--0--0--|-0--0--0--0--0----0--0--|-0--0--0----0----0--0--|-0--0-0---0------0-------| D--11-9-9------9--9--9--|-9--9--9--9--9--9-14-14-|-14-12-12---12---11-11-|-11-9-9---9----9-14------| A-----------------------|------------------------|-----------------------|------0------------------| E-----------------------|------------------------|-----------------------|-------------------------| ..|....|....|....|.....*.|.....|.....|....|.....*.|.....|....|....|.....*.|....|...|....|.........* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Heavy accent on this chord.

Chart 25 25 –>> TYA?, CD2= 1:50 N 1 * 1 * 1 * 1 * .........................*....................*.......................*............................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P * P P P P s P * P P P P P P * P P P P P P * E--------0----14---------|----------10--------|-------0----14---------|---------10---0-0-----------| B--14-12-12---12---10-10-|-10-8-8---8----8-14-|-14-12-12---12---10-10-|-x-8-8---8----7-7-----------| G--0--0--0----0----0--0--|-0--0-0---0------0--|-0--0--0----0----0--0--|-x-0-0---0----0-0-----------| D--14-12-12---12---11-11-|-11-9-9---9----9-14-|-14-12-12---12---11-11-|-x-9-9---9----7-7-----------| A------------------------|--------------------|-----------------------|----------------------------| E------------------------|--------------------|-----------------------|----------------------------| ..|.....|....|....|.....*.|....|...|....|....*.|.....|....|....|.....*.|...|...|....|.............* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Heavy accent.

Chart 26 26 –>> TYA?, CD2= 1:55 N * * * * ...................*.................*.....D(add4).....*...........................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P P * P P P P P P P * P P P P P P * P P P P P P P * E--x-0-0---7-7-7-7-|-7---7-7-7-7-7-7-|-7---5---5-5-5-5-|-5---5-5-5-5-5-5---------------------------| B--x-5-5---5-5-5-5-|-5---5-5-5-5-5-5-|-5---3---3-3-3-3-|-3---3-3-3-3-3-3---------------------------| G--x-0-0---0-0-0-0-|-0---0-0-0-0-0-0-|-0---0---0-0-0-0-|-0---0-0-0-0-0-0---------------------------| D--x-5-5---5-5-5-5-|-5---5-5-5-5-5-5-|-5---4---4-4-4-4-|-4---4-4-4-4-4-4---------------------------| A------------------|-4---4-4---------|-----------------|-5---5-5-5-5-5-5---------------------------| E------------------|-----------------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 25

Chart 27 27 –>> TYA?, CD2= 2:00 N * * * * .......C...........*.................*.E7/G#...........*...........................................* R ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P P P * P P P P P P P * P P P P P P * P P P P P P P P * E--5---3---3-3-3-3-|-3---3-3-3-3-3-3-|-0---0-0-0-0-0---|-0-0-0-0-0-0-0-0---------------------------| B--3---1---1-1-1-1-|-1---1-1-1-1-1-1-|-0---0-0-0-0-0---|-0-0-0-0-0-0-0-0---------------------------| G--0---0---0-0-0-0-|-0---0-0-0-0-0-0-|-1---1-1-1-1-1---|-1-1-1-1-1-1-1-1---------------------------| D--4---2---2-2-2-2-|-2---2-2-2-2-2-2-|-0---0-0-0-0-0---|-0-0-0-0-0-0-0-0---------------------------| A--5---3---3-3-3-3-|-3---3-3-3-3-3-3-|-2---2-2-2-2-2---|-2-2-2-2-2-2-2-2---------------------------| E------------------|-----------------|-4---4-4-4-4-4---|-4-4-4-4-4-4-4-4---------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

Chart 28 28 –>> TYA?, CD2= 2:04 N 1 * 2 3 * 4 * ...Am..G...Am..G...*.C...F...D...G...*.E...........................................................* R * * * R P P P P * P P P P * P P P P * E-(0)-(3)-(0)------|-0---1---2---3---|-4---4---5---7-----------------------------------------------| B--1---0---1---3---|-1---1---3---0---|-5-----------------------------------------------------------| G--2---0---2---0---|-0---2---2---0---|-4-----------------------------------------------------------| D--2---0---2---0---|-2---3---0---0---|-6-----------------------------------------------------------| A--0---2---0---2---|-3---3--(0)--2---|-7-----------------------------------------------------------| E------3-----------|-------------3---|-4-----------------------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...............................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

This chord sequence Steve seems to frequently drop; e.g., Yessongs film, 1975 QPR concert. This transcripti on is based on a very clear video on the 1989 ABWH concert. Notice the chromatic sequence in the second bar on the high notes. I don’t see any pattern on the bass side, but it sounds good. I was able to ask Steve about this via e-mail and his Web site: CG: When you perform “Clap,” it seems that you usually do something a little different every time, which keeps it interesting I’m sure. But I’ve noticed that you often drop the quick chord sequence in the middle that goes Am-G-Am-G-C-F-D-G-E in steady quarter-note time. Is there any particular reason? Since it was included on The Yes Album performance, I always assumed it was an essential part of the song. Now I’m wondering if perhaps it is just sort of  a “variation” that can be pulled out from time to time. How do you see it? SH: Over the years I’ve done all sorts of things with ‘Clap’, and I do have cut off points where I can go to one thing, go to another, or if I feel like it just go with the main bi t that I wrote. There is a pa rticular thing about those chords, there are times when I don’t play them but I’m not going to tell anybody what it is [laughs].

2.

He plays this D with a half-barre on the 2nd fret, and 2 finger on 3rd fret. His 3rd and 4th fingers are in the air. Personal preference.

3.

I’m not sure if he actually plays the low G, but he certainly fingers it. Given the following E chord, it would seem that a barred G would make more sense. However, he definitely plays the nut version of the G chord.

4.

Yes, he plays a full barre on the 4th fret, and the change from the G is very fast and difficult. This is probably a place where one could cheat with no one being able to tell! Why would he do the barre if he did not play the low G#? And if he plays the G#, he probably plays the low G in the previous chord. (I don’t play the low G#, allowing me to do an easier half-barre on the 4th fret instead of a full barre.)

Chart 29 29 –>> TYA?, CD2= 2:08 N 1 2 * 2 * * * ...................*.................*.................*...........................................* R m m * m m * m m * m m * R P P * P P P P P * P P P * P P P P P * E------------------|-----------------|-----------------|-------------------------------------------| B------6-------6---|---6-----6-------|-----7-------7---|---7-----7---------------------------------| G------4-------4---|(4)--4-----4(4)--|-----5-------5---|(5)--5-----5(5)----------------------------| D--3-------0-------|-3-----0-----3---|-4-----------0---|-4-----------4-----------------------------| A------------------|-----------------|---------0-------|-------0-----------------------------------| E------------------|-----------------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Steve sometimes tends to muddy these notes by playing double strings, which I’ve suggested with parentheses.

2.

Ed Schaum reports seeing Steve play this D at the 5th fret of the A string on the recent Open Your Eyes tour (June 26, 1998).

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 26 

Chart 30 30 –>> TYA?, CD2= 2:13 N * * 1 * * ...................*.................*.................*...........................................* R m m * m m * m m * m m * R P P * P P P P P * P P P * P P P P P * E------------------|-----------------|-----------------|-------------------------------------------| B------6-------6---|---6-----6-------|-----7-------7---|---7-----7---------------------------------| G------4-------4---|(4)--4-----4(4)--|-----5-------5---|(5)--5-----5(5)----------------------------| D--3-------0-------|-3-----0-----3---|-4-----------0---|-4-----------4-----------------------------| A------------------|-----------------|---------0-------|-------0-----------------------------------| E------------------|-----------------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

On TYA, he plays the exact same pattern here on the repeat. On YMP, he plays the open D instead of the A here. I prefer the classic TYA version.

Chart 31 31 –>> TYA?, CD2= 2:17 N 1 * 2 3 * 4 * 5 5 5 * ...E...............*.................*.A7..............*...........................................* R a a * a a a a * a a * a m a * R P P P P * P P P P * P P P P * P h p P P P * E------------------|-------0---------|-----------------|-------------------------------------------| B------9-----9-----|-7-7-------7-----|-----8-----7-----|-5-7-5-------5-----------------------------| G------------------|-----------------|-----6-------6---|------(6)6-----6---------------------------| D------6-------6---|----(6)------6---|-----7-------7---|-------7-------7---------------------------| A------7-------7---|-----7-------7---|-0-------0-------|-0---------0-------------------------------| E--0-------0-------|-0-------0-------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|.....|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 & 4 & *

1.

Steve plays the G# on the sixth fret even though it makes this passage much more difficult (from video).

2.

For variation, Steve sometimes plays the low E here again instead of the medium E. This creates a “1-2 1-2 1-1-1-2” type pattern.

3.

He definitely plays the high E on the open string (from video).

4.

Lay your 1 finger on 5th fret of the B string now.

5.

This seems to be a very quick little “triplet.” Though you could also play the E pull off simultaneous with the “&” beat. Very subtle difference. It’s tough to tell.

Chart 32 32a –>> TYA, CD2= 2:22 N 1 1 * 2 3 4 5 5 6 * 7 8 * 9 9 9 9 9 9 * ...E7..............*...............G.*.A.................*.........................................* R a a * a m a v ^ v * ^ ^ v ^ v ^ v * ^ m ^ v ^ v ^ v * R P P P P * P P P P P P * P P P P h P P P * P s P s P P P P P * E------10----9-----|-7-----0---------|-------------------|-----5-----------------------------------| B------------------|---8-------8-8-0-|-----------------2-|-----------0---0-------------------------| G------------------|-----------0-0-0-|-2---2---------2-2-|-4-6---6-4-0-4-0-2(0)--------------------| D-----(6)------6---|-----6-----6-6-0-|-2---2-------x-2-2-|-2-------------0-2-0---------------------| A------7-------7---|-----7-----7-7-2-|-0---0-0-3-4-------|-----------------0-0---------------------| E--0-------0-------|-0-------0-----3-|-0-----------------|-----------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|.....|...*.|.....|.....|...|.......................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 3 & 4 & *

32b –>> TYA, CD2= 2:26 N 10 * 11 * ...A...............*...............................................................................* R ^ ^ ^ ^ v * v ^ ^ v ^ v * R P s P P s P P * s P P s P P P P * E------------------|-------------------------------------------------------------------------------| B------2---1-2-x-1-|-2-0-1-2-----------------------------------------------------------------------| G--1-2-2---1-2-x-1-|-2-0-1-2-0-0-2-2---------------------------------------------------------------| D--1-2-2---1-2-x-1-|-2-0-1-2-0-0-2-2---------------------------------------------------------------| A--0---0---0-----0-|-----0-------------------------------------------------------------------------| E------------------|-------------------------------------------------------------------------------| ..|...|...|...|...*.|...|...|...|.................................................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 27 

32 –>> YMP, CD3= 3:07 N 1 1 * 2 3 4 * 7 12 12 * 12 * ...E7..............*.................*.A...................*.......................................* R a a * a m a m ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P * P P P P P * P s P P P P P P s P * P P P P s P P P * E------10----9-----|-7-----0---------|----------(0)--------|---------------------------------------| B------------------|---8=====>-8=>---|---------2(2)------2-|-------0--------(0)--------------------| G------------------|-----------0===>-|-1-2-2-2-2(2)0-1-2-2-|-2-2---0-1-2-2-2-2---------------------| D--------------6---|---------------0-|-1-2-2-2-2(2)--1-2-2-|-2-2-----1-2-2-2-2---------------------| A------7-------7---|-------------7---|-0-----0--(0)--0-----|-0-------0---0-0-0---------------------| E--0-------0-------|-0---0---0-------|---------------------|---------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|.....|...|...|.....*.|...|...|.....|.......................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

32a –>> NNA, CD22= 2:11 N 1 1 * 2 3 4 * 7 8 * * ...E7..............*.................*.A.................*.........................................* R a a * a m a m ^ v * ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ * R P P P P * P P P P P * P P P P h P P P * P P P P P P P h * E------10----9-----|-7-----0---------|-------------------|-----------------------------------------| B------------------|---8-------8-----|-------------------|-----------------------------------------| G------------------|-----------------|-------------------|-2-2(2)2(2)2-----------------------------| D--------------6---|---------------0-|-------------2-4-2-|-5---5---4-------------------------------| A------7-------7---|-----7---7---x---|-0---0-0-3-4-------|-------------3-4-------------------------| E--0-------0-------|-0---------------|-------------------|-----------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|.....|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

32b –>> NNA, CD22= 2:15 N 10 * * ...A...............*...............................................................................* R ^ ^ ^ ^ v * v ^ ^ v ^ v * R P s P P s P P * s P P s P P P * E-------------(0)--|-------------------------------------------------------------------------------| B----------1-2-x-1-|-2-------------2---------------------------------------------------------------| G--1-2-2---1-2-x-1-|-2-1-1-2---2---2---------------------------------------------------------------| D--1-2-2---1-2-x-1-|-2---1-2-2-2---2---------------------------------------------------------------| A--0---0---0----(0)|---------0---------------------------------------------------------------------| E------------------|-------------------------------------------------------------------------------| ..|...|...|...|...*.|...|...|...|.................................................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

32 –>> QPR N 1 1 * 2 3 4 5 * 7 13 * 13 * ...E7..............*.................*.A...............*...........................................* R a a * a m a v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * R P P P P * P P P P P P * P s P P P P P s * P P P P P P * E------10----9-----|-7-----0---0-----|-----------------|-------------------------------------------| B-----(0)----------|---8=====>-8-8-0-|-----------2-----|--(1)--------2-----------------------------| G------------------|-----------0-0---|-1-2-2-1-2-2-1-2-|---1-2-x-2---2-----------------------------| D--------------6---|-------------6---|-1-2-2-1-2(2)1-2-|-2-1-2---2---2-----------------------------| A------7-------7---|---------7---7---|-0---0(0)0--(0)--|-0---0---0---0-----------------------------| E--0-------0-------|-0---0-----------|-----------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Use 4 finger for the high D and the following C#. The 1 finger is on the D string, 6th fret, and the 2 finger is on the A string, 7th fret (from video). This lick is not easy by any means! It will take lots of practice.

2.

Use 3 finger for the B.

3.

Use 4 finger for the G—a blue note—and hold it down as shown (from QPR video). He typically (TYA, NNA) gives the G a little bend here too.

4.

Lift 3 finger to play the open E. This is difficult since you’re holding down the 4 finger on the B string (from video).

5.

Yes, there is one-half step dissonance (G# and G) here on TYA and QPR. It is very brief, and it seems to create some interesting tension.

6.

On TYA, at 6x speed I hear the low G and B of the G chord. That’s a very quick movement of the left hand just to get a transitional chord! It’s hard to believe, but I hear i t very clearly.

7.

This is an A chord. From QPR, MJF, and YMP videos, he barres it with his 1 finger. I have every reason to believe that he also barres it this way on TYA and NNA, which have licks but no video. To play the NNA lick, you will definitely want a 1-finger barre on the 2nd fret, though not necessarily at this exact point.

8.

On TYA and NNA, I am showing a hammer-on, but it may be a slide. This note and the previous one (C) occupy the same eighth note’s worth of time.

9.

Triplet. On the high A, Steve may well be using the pick. I find the “m” finger easier.

10.

On TYA and NNA, this point starts a bit of “off-beat” syncopation that is rather difficult to play. For example, notice that he slides into the first beat of the second measure.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 28

11.

On TYA, after playing the open G interval, he quickly slides into the A interval starting on the first fret. It’s too quick to show—very subtle.

12.

On YMP, this quick slide occurs within the previous note’s time, which is an eighth. Though I keep showing 4/4 time, these last two measures on YMP are really in 6/8 time: 1-and-2-and-quarter rest (there are some muted strums, as shown); 4-and-1-and-quarter rest; 3-and-4-and-eighth rest (on chart 33), followed by the lick, which starts on the 1-and beat of chart 33.

13.

On QPR, this downstroke occurs simultaneously with a slide from the first fret to the second. I suppose the downstroke really occurs on the first fret, but the barre is already moving. This is clear on the video. As on YMP, this strum passage contains a very interesting (but different) 6/8 sort of rhythm. It starts out fairly complex and resolves down into straight quarter notes before launching into the c hart 33 lick. (I believe the open A was intended to repeat on each quarter note throughout both measures. It got a little muddy in the first.) Bravo!

Chart 33 33 –>> TYA, CD2= 2:28 N 1 2 2 2 3 * 2 2 2 4 4 4 * 4 5 6 6 * 7 7 8 * .....................*...................*.................*.......................................* L 1 1 4 1 4 3 1 3 1 * 4 1 4 3 1 3 3 1 3 * 3 1 2 3 1 3 * 1 3 1 1 3 1 3 3 * R ^ v ^ v ^ ^ v * ^ v ^ ^ ^ ^ * ^ ^ ^ v ^ v * ^ v ^ v ^ * R P P P P P p p P P * P P P p p P P p P * P P h P P P P * P h P P h P P s * E--0-2-------------5-|-------------------|-----------------|---------------------------------------| B--2---5-2-----------|-8-5---------------|-----------------|---------------------------------------| G--2-------5-4-2-----|-----8-7-5---7-5---|-7---5-6=======>-|=============>-------------------------| D--2-------------4---|-----------7-----7-|---------7-5-----|-----5-----x---------------------------| A--0-----------------|-------------------|-------------7-0-|-5-7---5-7-----------------------------| E--------------------|-------------------|-----------------|-------------7-8-----------------------| ..|...|...|.....|...*.|...|.....|...|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 4 & * 1 & 2 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

33 –>> YMP, CD3= 3:12 N 9 2 2 2 * 2 2 2 4 4 4 * 4 5 6 6 * 7 7 8 * .....................*...................*.................*.......................................* L 1 4 1 4 3 1 3 1 * 4 1 4 3 1 3 3 1 3 * 3 1 2 3 1 3 * 1 3 1 1 3 1 3 3 * R ^ v ^ v ^ ^ v * ^ v ^ ^ ^ ^ * ^ ^ ^ v ^ v * ^ v ^ v ^ * R P P P P p p P P * P P P p p P P p P * P P h P P P P * P h P P h P P s * E----2-------------5-|-------------------|-7---------------|---------------------------------------| B----2-5-2-----------|-8-5---------7-5---|-7---5-----------|---------------------------------------| G----------5-4-2-----|-----8-7-5---7-5---|-7---5-6-6=====>-|=============>-------------------------| D----------------4---|-----------7-----7-|---------7-5-----|-----5-----5---------------------------| A--------------------|-------------------|-------------7-0-|-5-7---5-7-----------------------------| E--------------------|-------------------|-----------------|-------------7-9-----------------------| ..|...|...|.....|...*.|...|.....|...|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 4 & * 1 & 2 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

33 –>> NNA, CD22= 2:17 N 1 2 2 2 * 2 2 2 4 4 4 * 4 5 6 6 * 7 7 8 * .....................*...................*.................*.......................................* L 1 1 4 1 4 3 1 3 1 * 4 1 4 3 1 3 3 1 3 * 3 1 2 3 1 3 * 1 3 1 1 3 1 3 3 * R ^ v ^ v ^ ^ v * ^ v ^ ^ ^ ^ * ^ ^ ^ v ^ v * ^ v ^ v ^ * R P P P P P p p P P * P P P p p P P p P * P P h P P P P * P h P P h P P s * E--0-2-------------5-|-------------------|-7---------------|---------------------------------------| B--2---5-2-----------|-8-5---------7-----|-7---5-----------|---------------------------------------| G--2-------5-4-2-----|-----8-7-5---7-5---|-7---5-6=======>-|=============>-------------------------| D--2-------------4---|-----------7-----7-|---------7-5-----|-----5-----5---------------------------| A--0-----------------|-------------------|-------------7-0-|-5-7---5-7-----------------------------| E--------------------|-------------------|-----------------|-------------7-9-----------------------| ..|...|...|.....|...*.|...|.....|...|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 4 & * 1 & 2 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

33 –>> QPR N 2 2 2 * 2 2 2 4 4 4 * 4 5 6 6 * 7 7 8 * .....................*...................*.................*.......................................* L 1 1 4 1 4 3 1 3 1 * 4 1 4 3 1 3 3 1 3 * 3 1 2 3 1 3 * 1 3 1 1 3 1 3 3 * R ^ v ^ v ^ ^ v * ^ v ^ ^ ^ ^ * ^ ^ ^ v ^ v * ^ v ^ v ^ * R P P P P P p p P P * P P P p p P P p P * P P h P P P P * P h P P h P P s * E----2-------------5-|-------------------|-----------------|---------------------------------------| B--2---5-2-----------|-8-5---------------|-----------------|---------------------------------------| G--2-------5-4-2-----|-----8-7-5---7-5---|-7---5-6=>-6===>-|=========>-6=>-------------------------| D--2-------------4---|-----------7-----7-|---------7-5---0-|-----5-----5---------------------------| A--0-----------------|-------------------|-------------7---|-5-7---5-7-----------------------------| E--------------------|-------------------|-----------------|-------------7-9-----------------------| ..|...|...|.....|...*.|...|.....|...|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 4 & * 1 & 2 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 29

1.

The high, open E is audible on this strum on both TYA and NNA. But he is barring the 2nd fret (QPR, MJF, YMP videos all show this). I think the explanation is that his 1 finger is curved just enough to free up the high E string.

2.

Triplet. The YMP video clearly shows that the last two notes are pull-offs.

3.

On TYA, Steve slides this note up just after playing it. I do not think it was intentional.

4.

The right-hand technique shown on this chart is Steve’s, taken mainly from the QPR video. This particular spot is a bit strange with two eighth-note downstrokes in a row. After the first downstroke on the D string, he briefly stops or rests the pick on t he G string before continuing the second downstroke through it.

5.

From QPR and MJF videos, Steve anchors his 2 finger on the C# (6th fret) here and keeps it down throughout the rest of the chart, releasing it only at the final slide (as shown). At times, his 1 and 3 fingers are both airborne, rotating around the anchor! I find this to be awkward. Experiment.

6.

I would much rather play these two notes as pull-offs. But the audio tracks suggest that the notes are picked. The QPR video is the only one that shows right-hand technique here, and it shows that he is indeed picking these notes—except that he plays an open D on QPR instead of the usual open A. (The QPR video clearly shows two successive Ds: the first open and t he second at the A-string’s 5th fret.)

7.

Steve uses his pick to play the G. I prefer the “m” finger.

8.

This slide is with the 3 finger and it transitions both the sound and your hand into position for the following D/A chord. On TYA, it only goes to C. Everywhere else it goes to C#. Mi stake on TYA or evolution?

9.

Due to the rhythmic variation in chart 32, YMP starts out here with an eighth rest. The YMP video verifies the right-hand technique through the first measure (then it goes to a long shot).

Chart 34 34 –>> TYA, CD2= 2:32 N * * * * ...D/A......G........*.D/F#....A/E.....*.D/A......G........*.D/F#....B7............................* R a a m * a m a a * a a m * a m m a * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|---10--------------|---------------------------------------| B-------10-----8-----|---7-------5-5-0-|------x------8-8---|---7-----------0-----------------------| G--7----7------7-7-x-|---7-7-0-----6---|-7----x--------7(0)|--(7)7-0---8-8-0-----------------------| D--7-------------9---|-----7-------7---|-7--------9----9---|-7---7-------7-------------------------| A-----------10-------|-9-------7-------|----------10-------|-9------(9)--9-------------------------| E--------------------|-----------------|-------------------|---------7-----------------------------| ..|....|...|....|...*.|...|...|...|...*.|....|...|....|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

34a –>> YMP, CD3= 3:17 (repeat of chart 6) N * * * * ...D/A......G........*.D/F#....A/E.....*.G/D.............*.D/A.....................................* R a a * a a m * a m * a a a * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|-----------------|-----------------|-5-----2---2-----------------------------| B------(7)-----8-----|---7-------5(5)--|-----3-----------|-------3---3-----------------------------| G-------7--------7---|-----7-------6-0-|-----4-----4(4)--|------(2)----2-0-------------------------| D--7--------9----9---|-7---7---7---7---|-5---5-------5---|-----0-------0---------------------------| A-----------10-------|-9-------7-------|-5-------5-------|-0-------0-------------------------------| E--------------------|-----------------|-----------------|-----------------------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|...........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

34b –>> YMP, CD3= 3:21 (repeat of chart 7) N * * * 1 1 1 * ...D/A......G........*.D/F#....A/E.....*.F#7.............*.........................................* R a a * a m a m * a m * a m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|-----------------|-----------------|-----------------------------------------| B------(10)----8-----|---7-------5(5)--|-----7-----------|---7-----7---7---------------------------| G--7----7--------7---|-----7(0)----6-0-|-----9-----9-9---|-----9-------9---------------------------| D--7--------9----9---|-7---7---7---7---|-8---8-------8---|-------8--(8)----------------------------| A-----------10-------|-9-------7-------|-9---------------|-9-----9--(9)----------------------------| E--------------------|-----------------|---------9-------|---------------8-------------------------| ..|....|...|....|...*.|...|...|...|...*.|...|...|...|...*.|.....|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 30

34c –>> YMP, CD3= 3:26 (repeat of chart 3) N * * * * ...Bm7..............*.A7..........Ab7.*.G7..............*.Bm7......................................* R ^ a a a * a ^ v ^ v ^ v * ^ a a a * a a m * R P P P P * P P P P P P P * P P P P * P P P P * E------7---9-10-----|-9--(5)5-----4---|-----3---5-7-----|-5----(2)---------------------------------| B------------7------|-----5-5-5-x-4-x-|-----3-----------|-------3---3-3----------------------------| G-------------------|-----6---6-x-5---|-4---------------|-----2-------2----------------------------| D--7-----------(7)--|-----5---5-x-4---|-3-----------x---|-----4-------4----------------------------| A--9---9--------9---|-----7-------6---|-5---5-------5---|-2----------------------------------------| E--7-------7--------|-5-----------4---|-3-------3-------|---------2--------------------------------| ..|...|...|....|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

34d –>> YMP, CD3= 3:31 N * 2 * 2 * 3 * ...G7..............*.................*.................*...........................................* R a a p * a a a p * a ^ v ^ v ^ v * ^ ^ ^ ^ * R P P P P * P P P P * P P P P P P P * P P P P * E------------------|-----------------|-----------3---3-|(6)----------------------------------------| B------3-----5-3---|-5===>-3---5-3---|-5===>-3(3)5-3-3-|-5-----------------------------------------| G-----(4)---(4)----|------(4)-(4)----|-----4-4-4-4-4-4-|-4-----------------------------------------| D-----(3)----------|-----------------|-----x---x---x---|-x-----------------------------------------| A--5---5-------5---|-----5-------5---|-----------------|-----0---2---4-----------------------------| E--3-------3-------|-3-------3-------|-3---------------|-------------------------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

34e –>> YMP, CD3= 3:35 N * * * * ...D/A......G........*.D/F#....A/E.....*.D/A......G........*.D/F#....B7............................* R a a * a m a a * a a m * a m a * R P P P P * P P P P * P P P P * P P P P * E----10--------------|-----------------|---10--------------|-----------7---------------------------| B-------x------8(8)--|---7(7)----5-5-0-|------x------8-8---|---7---0---7-7-------------------------| G-(7)---7--------7---|-----7-0-----6---|-7----7--------7-0-|-----7-------8-------------------------| D--7--------9----9---|-7---7---7---7---|-7--------9----9---|-7---7-------7-------------------------| A-----------10-------|-9-------7-------|----------10-------|-9------(9)----------------------------| E--------------------|-----------------|-------------------|---------7-----------------------------| ..|....|...|....|...*.|...|...|...|...*.|....|...|....|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

34 –>> NNA, CD22= 2:21 N * * * * ...D/A......G........*.D/F#....A/E.....*.D/A......G........*.D/F#....B7............................* R a a * a a * a a * a m * R P P P P * P P P P * P P P P * P P P P P * E----10--------------|-----------------|---10--------------|-----------7-7-7-----------------------| B-------x------8-----|---7-------5-5---|------x------8(8)--|---7(7)-----(7)7)----------------------| G-------7--------7---|-----7-------6---|-7----7--------7---|-----7-------8-------------------------| D--7-------------9---|-7---7---7---7---|-7--------9----9---|-7---7-------7-------------------------| A-----------10-------|-9-------7-------|----------10-------|-9------(9)----------------------------| E--------------------|-----------------|-------------------|---------7-----------------------------| ..|....|...|....|...*.|...|...|...|...*.|....|...|....|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Triplet.

2.

On YMP, he seems to bend the string just slightly here. Listen.

3.

On YMP, here is another Clap mystery: The audio seems to suggest a very definite high A# (as shown). But this would be impossible to finger. And the video clearly shows the left hand fingering here—there is no A#. Perhaps it is some strange overtone.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 31

Chart 35 35 –>> TYA, CD2= 2:37 N 1 * * * 2 * ...E/B......A..........*.E/G#......B/F#....*.E/B......A..........*.E/G#.....B/F#...................* R a a * a m a * a a m * a a ^ v ^ * R P P P P * P P P P P * P P P P * P P P P P * E----12----------------|-------------------|---12-12-------------|---------------------------------| B-------9------10-10---|----9--------7-7-0-|-----(12)----10-10---|----9---0------------------------| G--9----9---------9----|------9--0-----8---|-9----9---------9--0-|------9-x-8-0--------------------| D--9---(9)--------11---|(9)---9---(9)--9---|-9--------11----11---|------9---9-0--------------------| A-----------12---------|-11---11---9-------|----------12---------|-11-------9----------------------| E----------------------|-------------------|---------------------|--------------2------------------| ..|....|...|.....|....*.|....|....|...|...*.|....|...|.....|....*.|....|...|...|..................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

35 –>> YMP, CD3= 3:40 N 1 * * * 2 * ...E/B......A..........*.E/G#......B/F#....*.E/B......A..........*.E/G#.....B/F#...................* R a a * a a * a a * a a ^ v ^ * R P P P P * P P P P * P P P P * P P P P P * E----12----------------|-------------------|---12----------------|---------------------------------| B------(9)-----10------|----9--------7-7---|-----(9)-----10------|----9---0------------------------| G--9----9---------9----|------9--------8---|-9----9---------9----|------9---8----------------------| D--9--------11----11---|-9---(9)---9-------|-9--------11----11---|-9----9---9----------------------| A-----------12---------|-11--------9-------|----------12---------|-11---11--9----------------------| E----------------------|-------------------|---------------------|------------3-2------------------| ..|....|...|.....|....*.|....|....|...|...*.|....|...|.....|....*.|....|...|...|..................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

35 –>> NNA, CD22= 2:25 N 1 * * * 2 * ...E/B......A..........*.E/G#......B/F#....*.E/B......A..........*.E/G#.....B/F#...................* R a m a * a a * a a * a a ^ v ^ * R P P P P * P P P P P * P P P P * P P P P * E----12-12-------------|-------------------|---12-12-------------|---------------------------------| B-------9-0----10-10---|----9--------7-7---|------9------10-10---|----9---0------------------------| G-------9---------9----|------9--------8-0-|------9---------9----|------9-0-8----------------------| D--9--------------11---|(9)---x----9---9---|-9--------11----11---|-9----x---9----------------------| A-----------12---------|-11--------9-------|----------12---------|-11-------9----------------------| E----------------------|-------------------|---------------------|--------------2------------------| ..|....|...|.....|....*.|....|....|...|...*.|....|...|.....|....*.|....|...|...|..................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

In this chart quarter notes are sometimes followed by two spaces instead of three.

2.

Bend the F# up to G and release to open E (in next measure). The MJF and QPR videos are the only ones that show this, and they show it poorly. He seems to use his 2 finger.

Chart 36 36 –>> TYA, CD2= 2:41 N 1 2 3 * 4 * * 5 * ...E7..............*.................*.F#7.............*...........................................* R a m * a m m ^ v ^ v * a m * m a ^ v ^ * R P s P P P * P P P P P * P P P P * P P P P * E------0-----------|-0-----0---------|-----0-------0---|-------0-----------------------------------| B------------8==>--|(0)8-8-0---0-----|-----------7-7---|---7---------------------------------------| G--------------7---|---7-7-----7-7---|-----9----(9)9---|----(9)----9-------------------------------| D------6-------6---|---6-6-----6-6---|(8)--8-------8---|(8)--8-----7-------------------------------| A--2-7-7-------7---|-7---7---7---7---|-9---------------|-9---------9-------------------------------| E--0------*7*------|-0-------0-------|---------9-------|-------------8-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 32

36 –>> YMP, CD3= 3:45 N 3 * * * 5 * ...E7..............*.................*.F#7.............*...........................................* R a m * a m a m * a m * m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P * E------0-----------|-0-----0=======>-|-----0=======>---|-------0-----------------------------------| B------------8==>--|--(8)------0===>-|-----------7(7)--|---7---------------------------------------| G--------------7---|-------------7---|----(9)------9---|----(9)------------------------------------| D--------------6---|-----6-------6---|-8---8-------8---|-8---8----(x)------------------------------| A-----(7)----------|-----7-------7---|-9---------------|-9-----------------------------------------| E--0---0---0-------|-0-------0-------|---------9-------|-------------8-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

36 –>> NNA, CD22= 2:29 N 3 * * * 5 * ...E7..............*.................*.F#7.............*...........................................* R a m * a m a m m * a m * m a ^ v ^ * R P P P P * P P P P * P P P P * P P P P P * E------0-----------|(0)----0=======>-|-----0=========>-|-------0===>-------------------------------| B------------8===>-|---8=>-----0==>0-|-----------7===>-|---7---------------------------------------| G------------------|-----------7-7---|----(9)----------|-----------x-------------------------------| D-----(6)------6---|-----6-------6---|(8)--8-------8---|(8)--8--(8)x-------------------------------| A-(0)--7-------7---|-7---7-----------|-9---------------|-9------(9)--------------------------------| E--0-------0-------|---------0-------|---------9-------|-------------8-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

On TYA, this is a continuous slide that starts on the second fret at the first beat and goes to the seventh fret. Use the 2 finger.

2.

On TYA, this is clearly a harmonic (B) played as shown. As it is the fifth, it fits, but I wonder if he intended the open E and his 2 finger accidently generated the harmonic.

3.

Bend this note just a bit with the 4 finger and hold it as shown.

4.

This measure on TYA is played with a sort of happy sloppy feel. I am guessing at the right hand technique here.

5.

Bend with 2 finger.

Chart 37 37 –>> TYA, CD2= 2:45 N 1 * 2 * * 3 * ...A7..............*.................*.................*...........................................* R a m * a m a m * m m m m * m m m m * R P P P P * P P P P * P P P P * P P P P * E------0-----------|-0-----0---------|-----------------|-------------------------------------------| B------------8(8)--|---8(0)----0(0)--|-----------------|-------------------------------------------| G-------------(6)--|----(6)----6-6---|-1---2---3---4---|-5---6---7---8-----------------------------| D------5-------5---|-----5-------5---|-----------------|-------------------------------------------| A--0-------0-------|-0-------0---0---|-----------------|-------------------------------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---7-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

37 –>> YMP, CD3= 3:50 N 1 * * * 3 * ...A7..............*.................*.................*...........................................* R a m * a m a m * m m m m * m m m m * R P P P P * P P P P * P P P P * P P P P * E------0-----------|-0-----0---------|-----------------|-------------------------------------------| B------------8-----|---8-------------|-----------------|-------------------------------------------| G-----(6)------6---|-----------6-----|-1---2---3---4---|-5---6---7---8-----------------------------| D--0---5-------5---|(5)--5---5---0---|-----------------|-------------------------------------------| A--0-------0-------|-0---0-------0---|-----------------|-------------------------------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---7-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 33

37 –>> NNA, CD22= 2:33 N 1 * 4 5 * * 3 * ...A7..............*.....................*.................*.......................................* R a m * a m a m * m m m m * m m m m * R P P P P * P P P P P * P P P P * P P P P * E------0-----------|-0---------0---------|-----------------|---------------------------------------| B------------8-----|---8-----------0-----|-----------------|---------------------------------------| G------------6-6---|---------6----(6)----|-1---2---3---4---|-5---6---7---8-------------------------| D------5-------5---|-----5----------(0)--|-----------------|---------------------------------------| A--0-------0-------|-0---0-------0---0---|-----------------|---------------------------------------| E------------------|---------------------|-0---2---3---4---|-5---6---7---7-------------------------| ..|...|...|...|...*.|...|.......|...|...*.|...|...|...|...*.|...|...|...|.........................* t 1 & 2 & 3 & 4 & * 1 & 2 e & a 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Notice that he returns to a similar alternating E-to-G lick (on 1st and 2nd strings) as in chart 36, but this time it is on an A7 chord.

2.

Heavy emphasis on this chord.

3.

The B in the bass is doubled here. Normally I would not note this, but I do because up until now (all these years) I had thought he was playing a C (8th fret) here in the bass. The YMP video very clearly shows the B. And it shows him using the same two fingers to play the interval, his 2 and 3 fingers. He  just slides his 3 finger from the 7th to the 8th fret on the 3rd string. I find this awkward and prefer to get the D# on the 8th fret with my 4 finger.

4.

This quick little pair of notes on NNA is very strange and does not make sense to me. I’m guessing at the right hand technique. It may be a mistake.

5.

To my ear, the open B here sounds quite dissonant. I don’t think he intended to play it.

Chart 38 38 –>> TYA, CD2= 2:49 N 1 * 1 2 * 3 * * ...E7..............*.................*.F#7.............*...........................................* R a m * a a m a * a m * a ^ v ^ v ^ v * R P P P P * P P P P * P P P P * P P P P P P P * E------0-----------|-9-0-------0==>--|-----0-----------|---0=======>-------------------------------| B-----(0)----8===>-|-------8==>------|----(7)----7-----|-------------------------------------------| G------------------|-----7-7-----7---|-----9-----9-----|-------9---9-9-----------------------------| D------6-------6---|-----6-------6---|-----8-------8---|-8---8-8-8-8-8-x---------------------------| A------7-------7---|-----7-------7---|-9---------------|-9---9---9---9-9---------------------------| E--0-------0-------|-0-------0-------|---------9-------|---------------8---------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

38 –>> YMP, CD3= 3:54 N 1 * 1 * 3 4 3 3 * 5 6 * ...E7..............*.................*.F#7.............*...........................................* R a m * a a m a * ^ ^ v ^ v ^ v * ^ v ^ v ^ v ^ * R P P P P * P P P P * P P P P P P P * P P P P P P P * E------0-----------|-9-0-------0==>--|-----0-----0---0-|-9-9-9-9-9-9-------------------------------| B------------8===>-|-------8==>------|-----7-7-7-7-7-7-|-7-7-7-7-7-7-------------------------------| G------------7===>-|----(7)------7-0-|-----9-9-9-9-9-9-|-0---0---0---------------------------------| D-----(6)------6---|-----6-------6-0-|-8---8-8-8---8---|-8---8-------------------------------------| A------7-------7---|-----7-------7---|-9---------------|-------------------------------------------| E--0-------0-------|-0---------------|--------[9]------|-------------8-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

38 –>> NNA, CD22= 2:38 N 1 * 1 * * 5 6 * ...E7..............*.................*.F#7.............*...........................................* R a m * a a m a * a m * ^ v ^ v ^ v ^ * R P P P P * P P P P P * P P P P * P P P P P P * E------0-----------|-9-0-------0==>--|-----0-----------|---9-9-9--(9)------------------------------| B------------8===>-|-------8=>(0)----|-----------7-----|-7-7-7-7--(7)------------------------------| G------------------|-------------7-0-|----(9)---(9)----|-0--(0)------------------------------------| D-------------(6)--|-----6-------6---|-8---8-------8---|-8---8-------------------------------------| A------7-------7---|-----7-------7---|-9---------------|(9)----------------------------------------| E--0-------0-------|-0-------0-------|---------9-------|-------------8-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

Bend this G with 4 finger. As shown, the first bend gets more hold time than the second.

2.

On TYA, there seems to be a B (open B pitch) right about here, but I did not show it because it would be impossible to play—the G on the 2nd string (8th fret) is still bent and sustaining! It may be some strange overtone. Another Clap mystery.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 34

3.

The open E and the 9th fret on the G string are the same E, so there might be some question as to whether he actually plays the open E. But I am quite sure he does because the E note is so loud and the adjacent F# (on the 2nd string) is quite soft, indicating that the open E got the primary hit from the finger and the F# got the secondary brush.

4.

The YMP video shows Steve dropping his 3 finger to the 6th string, but I don’t hear the C# note in the strum.

5.

As shown on the YMP video, he moves his 4 finger to the 1st string to get the C#. You need to damp the open G string, which would be a sour note, with the side of your 2 finger. Steve did not quite damp it on this first strum.

6.

Bend this C almost to C#. To dispel any possible doubt here, the YMP video clearly shows that he is playing the 6th string at the 8th fret with his 2 finger.

Chart 39 39 –>> TYA, CD2= 2:54 N * 1 * * * ...A7..............*.................*.................*...........................................* R a m * a m a m * m m m m * m m m m * R P P P P * P P P P P * P P P P * P P P P * E------0-----------|-0-----0---------|-----------------|-------------------------------------------| B-----(8)----8-8---|---8-------0-----|-----------------|-------------------------------------------| G------6-------6---|-----6-----6-----|-1---2---3---4---|-5---6---7---8-----------------------------| D------5-------5---|-----5-------0(0)|-----------------|-------------------------------------------| A--0-------0-------|-0-------0---0---|-----------------|-------------------------------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---7-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

39 –>> YMP, CD3= 3:59 N 2 * * * * ...A7..............*.................*.................*...........................................* R ^ v ^ v ^ v * ^ v ^ v * m m m m * m m m m * R P P P P P P P * P P P P * P P P P * P P P P * E------0-0-0-0-0---|---0-------------|-----------------|-------------------------------------------| B------8-0-8-x-8(8)|-8-0-8-0=======>-|-----------------|-------------------------------------------| G------6-6-6-6-6-6-|-6---6(6)======>-|-1---2---3---4---|-5---6---7---8-----------------------------| D------5(5)5(5)5-5-|-5---5-----------|-----------------|-------------------------------------------| A--0---------------|-----------------|-----------------|-------------------------------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---7-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

39 –>> NNA, CD22= 2:42 N 2 * * * 3 * ...A7..............*.................*.................*...........................................* R ^ v ^ v ^ v * ^ v ^ v * m m m m * m m m * R P P P P P P P * P P P P * P P P P * P P P P * E------0-0-0-0-0-0-|-0-0---0=======>-|-----------------|-------------------------------------------| B------8---8---8-0-|-8-0-8-0=======>-|-----------------|-------------------------------------------| G------6---6---6(6)|-6---6(6)======>-|-1---2---3---4---|-5---6---7---------------------------------| D------5---5---5---|-5---5-----------|-----------------|-------------------------------------------| A--0---------------|----(0)----------|-----------------|-------------------------------------------| E------------------|-----------------|-0---2---3---4---|-5---6---7---7-----------------------------| ..|...|...|...|...*.|...|...|...|...*.|...|...|...|...*.|...|...|...|.............................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & *

1.

It seems like perhaps he let go of the chord a bit early here on TYA.

2.

In this little 5-beat strum sequence in YMP, Steve alternately places and lifts his 4 finger on the 8th fret. This is especially clear on the video. NNA seems to be almost identical.

3.

On NNA, the high D# is missing. There is no sound at all there, so it makes me wonder if perhaps the note was intentionally omitted.

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 35

Chart 40 40 –>> TYA, CD2= 2:58 N 1 2 * 3 * 3 3 * ........................*...............................*..........................................* L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 * R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v * R P P p P P p P P * P s P P s P P P P P * P h P P h P P s P * E--12-12-9--------------|-------12----------------------|------------------------------------------| B----------12-12-9------|-------------------------------|------------------------------------------| G------------------11-9-|(11)13-----13-11-9---11-9------|------9-9----9----------------------------| D-----------------------|--------------------------11-0-|-9-11---9-11------------------------------| A-----------------------|-------------------------------|---------------11-9-7---------------------| E-----------------------|-------------------------------|------------------------------------------| ..|.....|....|....|....*.|.........|.........|....|....*.|....|...|....|..........................* t 1 & 2 & 3 & 4 & * 1 e & a 2 e & a 3 & 4 & * 1 & 2 & 3 & 4 e & a *

40 –>> YMP, CD3= 4:04 N 1 2 * 3 * 3 3 * ........................*...............................*..........................................* L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 * R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v * R P P p P P p P P * P s P P s P P P P P * P h P P h P P s P * E--12-12-9--------------|-------12----------------------|------------------------------------------| B----------12-12-9------|-------------------------------|------------------------------------------| G------------------12-9-|(12)13-----13-11-9---11-9------|------9-9----9----------------------------| D-----------------------|--------------------------11-0-|-9-11---9-11------------------------------| A-----------------------|-------------------------------|---------------11-9-7---------------------| E-----------------------|-------------------------------|------------------------------------------| ..|.....|....|....|....*.|.........|.........|....|....*.|....|...|....|..........................* t 1 & 2 & 3 & 4 & * 1 e & a 2 e & a 3 & 4 & * 1 & 2 & 3 & 4 e & a *

40 –>> NNA, CD22= 2:46 N 1 2 * 3 * 3 3 * ........................*...............................*..........................................* L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 * R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v * R P P p P P p P P * P s P P s P P P P P * P h P P h P P s P * E--12-12-9--------------|-------12----------------------|------------------------------------------| B----------12-12-9------|-------------------------------|------------------------------------------| G------------------12-9-|-12-13-----13-11-9---11-9------|------9=>----9----------------------------| D-----------------------|--------------------------11-0-|-9-11---9-11------------------------------| A-----------------------|-------------------------------|---------------11-9-7---------------------| E-----------------------|-------------------------------|------------------------------------------| ..|.....|....|....|....*.|.........|.........|....|....*.|....|...|....|..........................* t 1 & 2 & 3 & 4 & * 1 e & a 2 e & a 3 & 4 & * 1 & 2 & 3 & 4 e & a *

40 –>> QPR N 1 2 * 3 4 * 3 3 * ........................*...............................*..........................................* L 3 3 1 3 3 1 3 1 * 3 3 2 3 3 1 3 1 3 * 1 3 1 1 3 1 3 3 1 * R ^ v ^ v ^ v * ^ v ^ v ^ v ^ v * ^ v ^ v ^ v * R P P p P P p P P * P s P P s P P P P P * P h P P h P P s P * E--12-12-9--------------|-------12----------------------|------------------------------------------| B----------12-12-9------|-------------------------------|------------------------------------------| G------------------12-9-|(12)13-----13-11-9---11-9----0-|------9------9----------------------------| D-----------------------|--------------------------11---|-9-11---9-11------------------------------| A-----------------------|-------------------------------|---------------11-9-7---------------------| E-----------------------|-------------------------------|------------------------------------------| ..|.....|....|....|....*.|.........|.........|....|....*.|....|...|....|..........................* t 1 & 2 & 3 & 4 & * 1 e & a 2 e & a 3 & 4 & * 1 & 2 & 3 & 4 e & a *

1.

The left hand and right hand technique shown on this chart is Steve’s (from QPR video).

2.

Here seems to be another evolutionary change. On TYA, he plays an F#; on later versions, it’s a G. On the only video source (QPR), he clearly is fretting the 12th fret (not 11th). On TYA, I would guess that he used hi s 3 finger for notes on the 11th and 12t h frets.

3.

Steve uses the pick here; I find the “m” finger to be easier.

4.

On QPR, this open G sounds a little awkward. Mistake?

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 36 

Chart 41 41 –>> TYA, CD2= 3:01 N 1 2 3 * 4 * 4 * 5 6 7 6 * ...........E.......*.............*.............*...................................................* L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 * R ^ v ^ ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ * R P P P s P P * P m P P m P * P m P P m P * P h P P P h P P p p * E----------0-----0-|---3-----0---|-------------|-------------0-------------------------------------| B----------0-------|-----3-----0-|---0-----0---|-----------------3---------------------------------| G----------1-------|-6-----3-----|--(0)0-----0-|-----0-0-3-4-----3-2-0-----------------------------| D----------2-------|-------------|-4-----------|---------------------------------------------------| A--9-x-----2-------|-------------|-------4-----|-1-2-----------------------------------------------| E------9=>-0-------|-------------|-------------|---------------------------------------------------| ..|...|...|...|...*.|.|.|.|.|.|.*.|.|.|.|.|.|.*.|...|...|.......|.................................* t 1 & 2 & 3 & 4 & * 1 2 3 4 5 6 * 1 2 3 4 5 6 * 1 & 2 & 3 e & a 4 e & a *

41a –>> YMP, CD3= 4:07 N 1 2 3 * 4 * 4 8 * 5 6 7 6 * ...........E.......*.............*.............*...................................................* L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 * R ^ v ^ ^ v ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ * R P P P s P P P * P m P P m P * P m P P mP * P h P P P h P P p p * E----------0---0-0-|---3-----0---|-------------|-------------0-------------------------------------| B----------0---0---|-----3-----0-|---0------0--|-------0--------(0)--------------------------------| G----------1---1---|-6-----3-----|-----0----(0)|-----0---3-4-----3-2-0-----------------------------| D----------2---2---|-------------|-4-----------|---------------------------------------------------| A--9-7-----2-------|-------------|-------4-----|-1-2-----------------------------------------------| E------9=>-0-------|-------------|-------------|---------------------------------------------------| ..|...|...|...|...*.|.|.|.|.|.|.*.|.|.|.|.|.|.*.|...|...|.......|.................................* t 1 & 2 & 3 & 4 & * 1 2 3 4 5 6 * 1 2 3 4 5 6 * 1 & 2 & 3 e & a 4 e & a *

41b –>> YMP, CD3= 4:11 N 5 7 9 6 * 5 7 9 6 * ...........................*.......................................................................* L 2 2 3 3 2 * 2 2 3 3 2 * R ^ v ^ v ^ * ^ v ^ v ^ * R P P P h P P p p * P P P h P P p p * E--------------0-----------|-------------0---------------------------------------------------------| B-----------------(2)------|-----------------2=>-0-------------------------------------------------| G--2-----0-3-4-----3-2-0---|-2-----0-3-4-----3-2-0-------------------------------------------------| D--------------------------|-----------------------------------------------------------------------| A--------------------------|-----------------------------------------------------------------------| E--------------------------|-----------------------------------------------------------------------| ..|...|...|.......|.......*.|...|...|.......|.....................................................* t 1 & 2 & 3 e & a 4 e & a * 1 & 2 & 3 e & a 4 e & a *

41 –>> NNA, CD22= 2:49 N 1 2 3 * 4 * 4 * 5 6 7 6 * ...........E.......*.............*.............*...................................................* L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 * R ^ v ^ ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ * R P P P s P P * P m P P m P * P m P P m P * P h P P P h P P p p * E----------------0-|---3-----0---|-------------|-------------0=======>-----------------------------| B----------0-------|-----3-----0-|---0-----0---|----------------(0)--------------------------------| G----------1-------|-6-----3-----|-----0-----0-|-----0-0-3-4-----3-2-0-----------------------------| D----------2-------|-------------|-4-----------|---------------------------------------------------| A--9-7-----2-------|-------------|-------4-----|-1-2-----------------------------------------------| E------9=>-0-------|-------------|-------------|---------------------------------------------------| ..|...|...|...|...*.|.|.|.|.|.|.*.|.|.|.|.|.|.*.|...|...|.......|.................................* t 1 & 2 & 3 & 4 & * 1 2 3 4 5 6 * 1 2 3 4 5 6 * 1 & 2 & 3 e & a 4 e & a *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 37 

41 –>> QPR N 1 2 3 * 4 * 4 10* 5 6 7 6 * ...........E.......*.............*.............*...................................................* L 3 1 3 * 3 1 1 2 * 3 2 * 2 3 2 3 3 2 * R ^ v ^ ^ v ^ v * ^ v ^ v * ^ v ^ v * ^ ^ v ^ v ^ * R P P P s P P P * P m P P m P * P m P P m P * P h P P P h P P p p * E----------------0-|---3-----0---|-------------|-------------0-------------------------------------| B--------------0---|-----3-----0-|--(0)0---0-0-|------------(0)------------------------------------| G----------1-------|-6-----3-----|-----0-------|-----0-0-3-4-----3-2-0-----------------------------| D--9-7-----2-------|-------------|-4-----------|---------------------------------------------------| A--9-7-----2-------|-------------|-------4-----|-1-2-----------------------------------------------| E------9=>-0-------|-------------|-------------|---------------------------------------------------| ..|...|...|...|...*.|.|.|.|.|.|.*.|.|.|.|.|.|.*.|...|...|.......|.................................* t 1 & 2 & 3 & 4 & * 1 2 3 4 5 6 * 1 2 3 4 5 6 * 1 & 2 & 3 e & a 4 e & a *

1.

The left and right hand technique shown on this chart is Steve’s (from QPR and YMP videos).

2.

Slide this quarter note all the way down the E string into the E chord.

3.

This fantastic lick typically starts here on the 4& beat. From QPR video, Steve plays this open E with a pick, but I find the “m” finger easier.

4.

This bar is written in 6/8 time because the phrasing is in threes. The transcriptions I’ve seen continue to show 4/4, which makes it harder to understand. If  you watch Steve play it on YSG, his head is nodding in 6/8!

5.

It’s back to 4/4 time again.

6.

I prefer using my 1 and 2 fingers to play this hammer-on or pull-off sequence. Steve uses his 2 and 3 fingers as shown.

7.

Steve uses his pick to play the high E. I prefer the “m” finger.

8.

On YMP, this seems to be a mistake. The tab is spaced the way it sounds. The open B gets delayed a bit, and a quiet open G follows almost immediately after.

9.

On YMP, there is some C# harmony in this pull-off sequence. From video, he is just using his 2 and 3 fingers, so he must be fretting the B and G strings with his 2 finger somehow. That’s a nice trick. On the last measure he really gets it; you can hear the C# get pulled off to open B.

10.

On QPR, I think he meant to get the open G with the pick.

Chart 42 42 –>> TYA, CD2= 3:05 N 1 * * ...................*.E6/9..........................................................................* L 2 1 2 * * R ^ ^ ^ ^ * ^ * R P P h P P * P * E------------------|-----12================>-------------------------------------------------------| B------0-----------|----12=================>-------------------------------------------------------| G--2---0-1---------|---11==================>-------------------------------------------------------| D----------2-------|--11===================>-------------------------------------------------------| A------------------|-11====================>-------------------------------------------------------| E--------------0===|=======================>-------------------------------------------------------| ..|...|...|...|...*.|.............................................................................* t 1 & 2 & 3 & 4 & * 1 *

42 –>> YMP, CD3= 4:14 N 1 2 * 3 4 * 4 5 * ...........Emaj9...*.................*..........E6/9.....................E.........................* L 2 1 2 3 * 3 1 4 3 * 3 * R ^ ^ ^ ^ * ^ ^ ^ ^ * ^ ^ v ^ v ^ v ^ v ^ v ^ * R P P h P P * P P P P * P P P P P P P P P P P P * E------------------|-----------------|*7*-------12-12-12-12-12-12-12-12--0-0-0---------------------| B------------------|------------*7*--|----------12-12-12-12-12-12-12-12--0-0-0---------------------| G--2---0-1(1)------|---------8=======|=>--------11-11-11-11-11-11-11-11--1-1-1---------------------| D----------2-------|-----6===========|=>--------11-11-11-11-11-11-11-11--2-2-2---------------------| A------------------|*7*--------------|----------11-11-11-11-11-11-11-11--2-2-2---------------------| E-------------*7*--|-----------------|-----------------------------------0-0-0---------------------| ..|...|...|...|...*.|...|...|...|...*.|...........................................................* t 1 & 2 & 3 & 4 & * 1 & 2 & 3 & 4 & * 1 *

“Clap,” by Steve Howe, transcribed by Conall Gallagher, Rev. 1.83

Page 38