Thank you for purchasing this sheet music and

doing your part to keep Eric’s music alive and

support his family. We ask you that you respect the
Roche family’s copyright and that you don’t make
copies of this for friends or put any portion of this
online.

Transcribing guitar music is always tricky. It’s

almost certain that mistakes will be found in a fresh
transcription. The beauty of the digital format is that
we can make quick changes without any trouble so
if you notice any mistakes, please let Mark Grover
know, you can reach him at:

info@guitar-transcriptions.com
 Roadmap
Notating Eric's unorthodox techniques for acoustic guitar was quite a task and
we have decided to use some unconventional ways of setting them down in tablature.
Many of them I used for my own tab book, Eric liked my approach and asked me to use it for his.

This system requires a dash of common sense and a pair of working ears :-)

This is a little list of the most commonly found things. You will notice that most of the
percussion sounds are missing - the key and explanation to those can be found
in the performance notes to each piece.

Green Tab Notation from Outer Space:

In some parts in the pieces where there are a lot of things happening at the same time, and we thought
it would make things clearer if we notated the right-hand actions in green.
For a visual example just look at any one of the first pieces in this book!

Hammer-ons and pull-offs:

are always marked by a slur.



0 2 2 0

hammer-on pull-off

sometimes hammer-ons will come out of nowhere or be in combination with pull-offs

these are left- hand tapping notes which free up the right hand to do something else.


2 2 2 2 0 3
3 3 3 3 0 3

 
slides:
are notated in the traditional tab way - a line from A to B


3 4
3 4

12 0
12 0
slide up slide down
Percussion sounds:
X's on certain strings are assigned to certain percussion sounds. Make sure you read the performance notes
for each piece as we have sometimes changed 'what defines what' for easy reading's sake.

The most common ones are:

the 'bass boom' the heel of the right hand comes down just about where it is in its
normal playing position, resulting in a deep 'bass drum' kind of sound.

The 'click' - the right hand comes down on top of the strings, resulting in a 'click' sound.


 X

X
X

bass boom click

harmonics:
I borrowed the diamond notehead from standard notation for this. Every time you see a diamond,
something is going on with a harmonic (slapped harmonics are mentioned with the other slaps)
a so-called 'natural' harmonic note is played by placing a left finger over a node point (12th,. 7th, 5th and 4th fret)

the 'artificial' ones (diamond/triangle combo) Eric plays by

A.) fretting a note with the left hand (the number shown on the tab string)
B.) placing a right hand finger on the node point (indicated by the number in brackets)
C.) picking the note with his right-hand middle finger while the above mentioned things are in place.

If an 'artificial' harmonic is notated and there is no number in brackets, this means it is played on an open string.

    
(16) 
(14) 
(17)



12 5 4 2 5 12
12 7
12 7 4

'natural' harmonics 'artificial' right-hand harmonics

the last one is an open string (pick on the twelfth fret
with no left-hand fretting)
slap harmonics (diamond / x combo):
most of the time, these are played using open strings, meaning that you slap the node points on the indicated fret
with the first link of your middle finger. You can also use your index finger for this if you find it easier.

The other kind are the ones where you fret something with your left hand (see number on tab string) and slap the
node points indicated by the number in the brackets with your right hand (see above)
I know it can be argued that these are not only right-hand actions, but as the right hand makes a very prominent

   
move for these, I decided they should be notated in green.
(17) (20)


12 7 5
12 7 5
12 7 5
12 7 5 8
8
8

Strumming
Eric does a fair bit of strumming with his index fingernail, especially in the wilder parts! It's important that you
stick with the up/down pattern set down, as this will keep you in the groove.

This is a strum down (towards the floor) This is a strum up (away from the floor)
 

 0
2
3
0
2
3

The Human Factor:

As with any project of this kind, there are bound to be some mistakes. Apologies in advance and
please let me know if you find something funky.

thomas@thomasleeb.com
 Angel

Eric wrote this for his sister who lives in Ireland with their parents. He said it was a
tune that wrote itself as he was playing it and was so pleased with the final result that
he wondered if he had subconsciously covered a Beatles tune. To make sure he
hadn't, he called up people he knew, put the handle between his knees and played it
down the phone to see if anybody recognised it.

No one did and so he claimed it as his own, although he said he still half expected
a letter from Paul McCartney's solicitors to be in the mail one day.

Performance Notes

bar 32:
A very tricky chord. Eric plays as a full bar chord but you might find it easier without
(small barree with the middle finger on the sixth fret of the two middle strings).
Not that I am trying to out-chord Eric,
but if I whine about a chord, others will whine more.

bar 67:
...what with the C 'hanging over' from the previous bar, the Db on the first fret of the
A-string is not the obvious technical choice unless you can play freak chords like
Eric - I'd play the 8th fret on the E-string to avoid the 6-fret stretch.

Eric's typically dry comment on this bar: "Years of practice!!!"

 Angel
DADGAD

 
Eric Roche

 
Capo III

         
   
    
 
0 2 4 7 6 0 2 4 7 6


0 0
0 2 4 0 2 4
0 0
0 0

 1/2 B IV
    
      
1/2 B II

        
5 
      
     
 

0 2 4 7 4 7 4 7 2 4 0 0 2 4 0


0 0
2 2
4 4 2 4
2
0 4

                                

       
9

 
 
 

0 2 4 5 4 0 0 2 4 5 4 2 0 2 2


0 0 2 0
0 0 0 2 0
4 4
0 3 3 2
2 4

    
         

       
     
13

        
  
 
 
0 2 4 7 4 7 4 7 2 4 0 0 2 4 0


0 2
4 2 2
5 4 4 2 4
0 2
0 0 4 4
 
          
            
         
17

   
      
  
0 2 4 5 4 0 0 2 3 2 0


0 0 2 0 0 3 0
4 0 0 2 0
5 4 3
0 3 3 2 1
3

        
1.

Dal Segno

  
   
 
21

               
 
    


 
0 0 0 0 0


0 4 0 0 4
0 4 4 2
2 2 4 2 4 4 0 2 4 2 4 4
0 0 0 0
0 5 0

    
2.
   
       
25
         
            
       
 
0 0 0 0


0 0 4 0 0 4
4 4 4 4
2 4 2 4 4 0 2 4 2 4 4 0
0 0 0 0
0 5 0 5

 

 
B III
              
 
29

    
    
   
 

0 0 2 3 5 7 5 3


0 3 7
2 3
2 4 2 4 4 4 3
0 0
0 0 5 5
 
 
        
BV
32             
  
  
     
     
   


5 7 0 2 3 5 7 5 3


8 7 8 10
6 7
6 0
7 8
0 3 7
9 3
0 5 4 3
10 0 5 5

                         

36  
            



5 0


8 7 8 8 1 1 3
6 7 7 7 7 7 7 0
6 0 0 0 0 3 3
7 8 8 8 8 5 5


 
          
           
  
40
 
  
    
      
 

7 0 2 3 5 7 5 3


3 7 8 5 8 10 0 3 7
0 9 3
5 0 0 5 4 3
0
7 8 10 0 5 5

rit.
  
                     
44

       
     

0


8 10 10 10 10 10 10
5 7 7 7 7 7 8 8 0
7 7 7 7 7 7
0
7 8 9 9 9 9
 
                     
Dal Segno al Coda
  
 

48

   
   

     
  

0 2 4 7 2 0 0 0


0 0 3 0 4 0
0 0 4
0 2 2 4 2 4 4
1 0 0
5 0

                   
52

        
      
    
   

0 0 0 0


0 4 0 0 4
4 4 4 2 4
0 2 4 2 4 4 0 4 2 4 4
0 0 0 2
5 0 5


                   
56

     

    
 
 
 
 
   
 

0 0 7 7


0 4 0 4 0 5 4 5 0
4 4 4
5 2 4 2 4 4 0 4 2 4 4
3 0 0 0 0
0 5 0

 
 
       
       
   
60

       
      
   
 

7 7 7 7


4 0 5 4 5 4 0 5 4 5
2 4 2 4
0 4 2 4 0 0 4 2 4 4
0 0 0 2
5 0 5
 
 
               
64

           
      
7 7 7 7 7


0 5 4 5
4 2 0
5 4 2 4 0 4 0
3 0 0 0
0 0 0


FINE





           
67

        
   

(18)

5 3 2 0 0 0 2 4 7 6 6


0 0 4 0
0 0 0
0 0 2 4
1 0 0
3 5 0