All of Me

C%

E7

           

  
1 2 1 3

         
1 1 1 1

   
1 2


2 1 1 2 1


1 1 2 1

3 3

              
3
 3

      

8 8 10 8 10 8 7


8 9
9 9 9 9 10 9 8 9 8 9

                 
A7 D-7

  
1

     
2 2
5 2 1 1 1 1 3
2 2
1 2

  
2 2 1

 1/2
     3        
     

9 8 10 11 10 11 10 8 8 7 6 6 6 6
9 9 9
5

 
A-7
 
      
E7
 
1 2


0 2
1

      
9 4 3


1 2 1


1 4 1 3 1 2 2 3 1 1 2

 
3 
E major arppeggio descending A minor arpeggio

                
 
3

 

4 7 12 12 10 8


8 10
5 6 5 5 10
7 4 4 9
6 10 7
7
8


      
D7

G7
   2


 
1
3 1 2

   
4
13
  
3 2 4
1

    
1 1


1 3 1 3 1 1

 3

Sochelo thinks Dm7 to G7 here

            3  
    

7 7 6 56 5 12 10


13 10
10 12
12 10 12 10 9
5
2


E7

         
C% 3 3

   
2 1
17 1 1

   
3 1 3

   
1 2

 
1 2 3 1 1 2 1

N.H. (Natural
harmonics)
                
  

8 10 8 10 8 7 12 7 7
9
8 9 9
10 7
10 8 7
8

A7

       
D-7
         
1


2 2 3
21 2 1 3

  
1

   
2 1 1 2 1 2
1

 
3

 1/2
    3        
    

9 8 10 11 10 11 10 8 8 7 6 6 9 10
9 9
5

F6 F-6

             
A7 C%

     
1 1 1 1 1 1
25 (2)


2 2 1
1 3 1 2 1 4 1

   
1 2 2 1 1 1 2

   

                      


8 8 8 8 8 8
8 9 9 8 8
10 8 9
9 7 11
10 7
8 7 6 5

D-7

          

G7 C%
 
   
4
29 1 4 4


1 1 1 0
1 1


3 3 1


3 1 1 4 2 2 0 1 2 2 1 0 0 2 2 0 1 2 2


3 3 3  3        
3

typical Django C-lick

 3      3
  3      3       3   


10 13 10
10 10 9 12 12 8
12 12 10 12 10 10 10 0
12 0 2 3 3 2 0 0 0 2 3 5
3 3 3
 3

E7

             
C%
    
33 1 4


2 2 1 3 1

  
1 4 4 1


2 1 1 2 2 2 1 3 1

     
1 2 1 2 1 2 1 1

  
Cmaj.7 arpeggio This lick is in the technique course. Stochelo
plays all down strokes here but you can change
it to the picking of the technique course (lesson 10
exercise 5)

                          


3 7 5 7 5 4 7 4
5 6 3 6 3 6 5
4 5 4 1 4 1 7 5
0 2 5 3
5 2 3

          
A7 D-7

          
37 2


3 1 2 2 3 2 1
4 3

   
1 2 1 1 1 1 2

 
2 1 2 3 1

Easy but very effective lick from A7 to D-. The bend

puts some Django flavour into it. Practice in all keys!

               1/2
      
 

7 7 5
5 8 8 5 5 7 5 8 7 6 6 6 6
6 6 6
7 5 6 7

A-7
       
       
  
E7 1 2

   
4 4 1

   
1
41 4

   
4 4 4

   
1 2 1 1
1 1 1 2

 
1 3 1 2

N.H. (Natural harmonics). Stochelo

plays an extra harmonic by accident (there's
no harmonic on that fret) and I left it


out of the transcription
                  
3

  

7 4 4 12 12 7 5 5 7 12 12 10 12 10 10 9
5 6 5 4 3 5 5
4 4
6
4

D7


   
G7

               
1


4
45
   
1 2

  
1 2 1



1 4


2 2 2 1 2 1 2 1


3 2 3 1 1 1 4 2 2


1

Very nice phrase for 2 bars D7-> 2 bars G7 -> C.

                       
1/2



10
13 10 11 10
11 11 9 12 X 8 9 10 9
12 11 10 12 11 10 9 10 10 9 10
12 9

       
E7

         
2
C% 3 2 1


1 1 1 4 2


49 2 1

 
1

     
1 3 1 3 3 1 2 2
2 1 2 2 3 1 3

 
1 3 2

     3

This lick is played in Stochelo's favourite

One of Stochelo's stock phrases for major chords dominant chord "position" with the first finger
on the root. There are many licks in this and
other solos at RA where you can find
examples of this.
3
                       


12 15 14 13 14 13 12
13 15 12 13 12
12 13 13
10 12 14 14 12 14 13
10 10 12 10
7 8 8 11 12

A7 D-7

                

1 2 1

    
2 1 1
53

         
2 2 1

 
3

 
1 3 3 1 3 2
2 3


1 2 1 1 3 2 1 2 1 1 1
2

3 3 3 5
3
Fast diminished lick. The last quintuplet is not the exact
rhythm but it's pretty close.

 3     3   3   3           
5

    
    

12 9 9 12 10
14 11 11 10
12 15 12 9 9 12 10
12 13 12 11 11 14 11 12
13 12 10 11 12 12
 5

  F-6     
A7

     


2 1 3 1
1
C%
    
     
1 4
57 F6 2
1 1 3

 
1 1


2 1 1 2 3

 
2 3 2 2 3

Stochelo thinks C major in these two bars avoiding the

note "a" as not to conflict with F- in bar 58

                    
    

12 15 13 15 13 12
13 15 8 7 6 8 6 5
12 9 6
14 9 10 7
14 15

G7 C%

         
D-7
61 3

 
1 1

 
4

          
1 1 1 3 2
1 3 1 3 1 2 1 3 2 2 1 2 2 2 0 1 2

       
  3
thinking Ab-7 which is
D7 here the II for the tritone sub

 3  
of G7
                     
 

7 5 4
5 7 4
5 4
4 7 6 4 5 5 3 2
3 2 3 3 0 2 3
3 3 3


E7

     
C%
65

3


0 1 1 2

 
3 3 2 3

             
2 1 0 0 2 2 0 1 2 2 1 4 1 1 4 1 2 3 1 3 1 1

  
3

Diminished arpeggio

    3                      


4 7 4
6 6
4 7 7
0 3 6
3 2 0 0 0 2 3 5 3 5 3 2 2 5
3 3 5 5 2 3 4
6


D-7

      
A7

  
(2)

         
69 1 4 1


2 3

   
4 3 2 3 2 2

    
2 1 1 2 4 1 1 1


1 2 3 2 1 3 2 2

Again a dominant chord lick based with the first finger

on the root

( ) ( )
                       
 
3



4 5
6 8 5 5 8 11 10
6 6 12 10 9 12 11 10 11 10
7 6 5 6 7 12
12 12

A-7

   

2

     
3 1


E7


1 2

 

1 3 2 1 1

      
1 1
73
  
2 1 2 3

  
1 3 2 1 1 3 1
1 1


1 2 3 3 ( ) 3 1 1


1

3 3 3
3

Cool triplet dimished arpeggio

for a E7b9 sound!

 3   3   3                  3   




10 13 12 13 12
12 12 15 14 13 15 13 13 12 12
10 13 14 X
9 12 14
9 10 11 15 12 12 12 12 14 12 11 12

G7

                          

D7 (2)
77 1 3
1 1 1 1 1 1 1 2 1

  
1 2 1 1 1 2 2 1 3 4


1 1 1 1 1 1 2 1

Easy lick embellishing a D major triad

                          


10 10 10 10 12 10 9 8 8
11 11 11 11 10 11 10 8 9
12 12 12 13 12 11 12 9 7
10 7
 7


1

      
C% E7
  
1


3

      
2 2 1

         
1 1 1
81

     
1
1 2 2 3
2 1 1 1 1 2 2 2 1 2

  
2



3

                  

3

     

8 3 8 10 8 10 8 7
8 3 9
9 2 9 9 11 9 8 9 9 9 9 9 8 9
2
3
8 3

     
A7 D-7
            
1


2 2 3
85 3

  
2 1 2 1 1

    
1 2 1 2


1

 1/2
    3        
  


9 10 8 10 11 10 11 10 8 8 7 6 9 10
9 9
5

F6 F-6

         

C%

 
A7
     
1 1 1 1 1 1 1 3
89

2 1 (2)
1 1 2 1 4 1

  
3


1 2 2 1 1 1

   

                      


8 8 8 8 8 8 8 8
8 9 8 8
10 8 9
9 7
10 7
8 7 6 5
8

 
D-7
   
G7
  E-7
        A7

       
3 2 2 4 4

        
93 3

   
1 1 1 1 1
2 1 2 1 1
1 1 1 2 3 1 1

The next four bars are extra bars and serve as a possible
ending to almost any jazz standard

  3                   
     

8 5 8 5 10 10 10 7 10 7 10 7
6 5 4 3 8 7 6 5 5 5
5
6 7

3
1
1
2


     
2
D-7 G7 C%
    
1


4 (3) (1)
97 1 2 3 1
3

1 3 (3)

  
4 1 2 2

       
2 2 1 2 2

          
1 1 1 1 2 2 1

 
Db7 arpeggio which is the
tritone sub for G7

               3         

 

5 9 3
8 5 6 12 9 3
10 2
11 9 2
11 9 10 10 10 11 10 9 10 11 12 13 14 15 10 3
10 8 3