Legally Blonde The Musical: A Deep Dive into the Guitar Book

The Guitar Book for “Legally Blonde The Musical” is a significant piece of work for any guitarist tackling musical theatre. This article offers an in-depth exploration of this guitar book, providing insights into its complexities, construction, and effective performance strategies. Before diving into a detailed song-by-song commentary, we’ll discuss general observations and overall approaches to mastering this challenging score.

For those interested in the broader context of playing this show, including my personal experiences, rig details, and further exploration of guitar sounds, please refer to my companion article, Playing Legally Blonde The Musical – Guitar.

General Observations on the Guitar Book

The “Legally Blonde” guitar book is substantial – lengthy, intricate, and highly detailed. Its difficulty level makes it a challenging endeavor for most guitarists. Sight-reading accuracy is nearly impossible; dedicating time to familiarize yourself with the material is crucial to deliver a performance that truly does it justice. My initial encounters with the book in 2014 and 2016 left me wanting more in my performance. However, in 2018, with the opportunity to play consecutive productions, I dedicated weeks to refining my technique before rehearsals commenced. By the end of that focused preparation, I finally felt I had truly grasped the book’s nuances.

Characteristic of Laurence O’Keefe’s scores, the music is sophisticated, marked by frequent key changes. This often leads guitarists to play in keys that are less than guitar-friendly. Adding to the complexity, numerous songs are transposed down a half step, either entirely or partially, from their original keys – a likely adjustment for vocal ranges in London productions compared to Broadway. Given the sheer volume of key changes, using a capo becomes impractical. Deep familiarity with the fretboard is essential.

The book’s assembly is generally well-executed, avoiding impossible page turns, though some transitions are quite rapid. However, a sense of fragmentation and occasional confusion arises, manifesting in unusual and sometimes seemingly unnecessary instrument changes. This characteristic, I believe, stems from the book’s evolutionary journey:

Step 1: Original Broadway Scoring: The Broadway production of “Legally Blonde” was originally scored for two distinct guitar parts. Evidence of this is still present in the book, such as in #16a, which is labeled “Guitar 1” at the top of the page.
Step 2: US Touring Production Consolidation: For the US touring production, the score was reconfigured for a single guitarist. This involved merging the two original guitar books, which accounts for the numerous and sometimes seemingly arbitrary instrument changes.
Step 3: London Production Adaptation: The US touring book then became the basis for the London production, with the added step of transposing several songs or song sections down by a half step. This transposition contributes to some of the more challenging keys found within the book. (Though, with O’Keefe’s writing, expect challenging keys regardless!)

The London version is what Music Theatre International (MTI) provides as rental material for productions of the show (a telltale sign is “Legally Blonde (London)” printed on nearly every page). While generally well-edited, occasional oversights and inconsistencies exist, as detailed in the song-by-song review below.

Playing the Guitar Book

Despite its rock musical label, “Legally Blonde” is actually scored for a relatively small, 13-piece orchestra. Approaching the guitar book with an orchestral mindset, rather than a rock band mentality, is beneficial. Practically, this means adhering closely to what is written, avoiding improvisation or simplification unless explicitly indicated by slash marks in the score.

Both chord voicings and rhythms are meticulously notated for most numbers. I’ve observed that the rhythms are tightly interwoven with the bass, drums, and brass parts. Playing them accurately significantly enhances the music’s overall impact.

In a larger ensemble, deviating from the written part can easily clash with other instrumental lines. In productions with reduced orchestration, there’s slightly more freedom in interpretation. However, for “Legally Blonde,” following the score closely is generally the most effective approach.

The book employs a wealth of interesting and unusual triad sequences and inversions. It’s hard to say if a keyboard player or a particularly flamboyant guitarist compiled it! Expect constant movement up and down the guitar neck. Mastering it takes time, but a useful tip is to practice finger stretches spanning four frets across the D, G, and B strings. A significant portion of the written chord sequences can be played ergonomically within this hand position. Of course, it’s more nuanced than this, but it’s a solid starting point for deciphering the material.

Basic Electric Guitar Tones

In my companion article, I offer a detailed description of my virtual rig setup using the Line 6 Helix for this production. For this discussion, it’s important to note that my core electric guitar tone was built on a clean/dirty mix distortion. The balance between clean and distorted elements was adjusted per song. Additional effects were layered in as needed for each specific number.

My decision to use a digital multi-effects board (instead of individual stompboxes) was driven by the sheer volume of rapid and drastic tone changes demanded throughout the guitar book. This again, I believe, is a direct result of combining two original guitar parts into one.

Song-by-Song Detailed Review

This review section omits minor scene change and underscore cues but otherwise covers the entire “Legally Blonde” guitar book. For each song, I detail the instruments and electric guitar tones I employed, offer technique suggestions, document any deviations from the written score, clarify ambiguities, and point out errors within the book. This section is primarily intended for guitarists who have a copy of the score and are preparing to play the show. While I hope it provides useful guidance, it’s not intended to be a rigid “instruction manual.” Every player will bring their own interpretation to the book.

Errata: Be aware of errors present in the book in #1, #2, #11a, and #21. Specific details on these errors are provided in the notes for each respective song.

#0: Overture

Instrument: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tones: My basic distortion sound was used for measures 2-9, transitioning to a clean chorus sound for measures 10-31. The chorus effect was modeled after the TC Electronics “Tri-Chorus”.
Technique: I adhered to the written part exactly. For the intricate picked section in 3/4 time (counted in 1), I recommend playing in the 12th position for measures 10-24, then swiftly shifting to the 5th position from measure 25 onward.

#1: Omigod You Guys
This is the first of many extended, high-energy production numbers in “Legally Blonde.”

Instrument: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tones: My basic distortion tone served as the foundation for most of the song, with these additions:
- Clean: A slightly compressed clean sound for measures 158-169 (refer to errata notes below regarding measure numbering in this section).
- Lead: A louder, fuller distortion with a 450ms single repeat delay for measures 182-188.
- “Andy Summers”: A Police-esque flanged chorus distortion sound for measures 18-20, 29-31, and 58-60. (Note the rapid effect changes in and out of these sections.)
Technique/Changes: I largely followed the written part, with these modifications primarily aimed at minimizing pedal changes and correcting a few missed cues:
- Measures 10-17: I maintained the distortion sound instead of switching to “Clean” as indicated, as palm-muting the arpeggios naturally reduces distortion. I applied the same approach to measures 21-28 and 50-57.
- Measures 18-20, 29-31 & 58-60: For the “Andy Summers” sections, I played the written chords but incorporated the melody notes from Guitar 2 in the Broadway recording. This effectively combines both original Broadway guitar parts. (Listening to the Broadway cast recording will clarify this concept).
- End of measure 31: The “Andy Summers” effect should revert to distortion.
- Measures 32-45: This is the chorus section. Some written voicings are somewhat unconventional, especially the Dm11 on beat 2 of measure 36. I enriched these voicings, using 3-string voicings on the D, G, and B strings throughout.
- Measure 47, beats 3 and 4: I played only the upper note of the octave pairings.
- Measure 49: I disregarded the “Mild Distortion – Lead” sound change instruction.
- End of measure 60: The “Andy Summers” effect should revert to distortion.
- Measure 100: I added F and Bb notes on beats 1 and 2 respectively, mirroring the recording. (It’s unclear why these are omitted from the score.) I also disregarded the “Lead (Full Vol.)” sound change instruction.
- End of measure 109: I disregarded the “Lead (full volume)” sound change instruction.
- Measure 135: I played only the upper note of each octave pair in this measure.
- Measure 170: Switch from Clean sound back to Distortion.
- Measures 197-198 (should be numbered 196-197): I omitted the Bb from the Ebsus/Cb voicing.

The final section (measure 196 onwards) features rapid chord changes that ascend and descend the neck. Practicing these passages to ensure accuracy is worthwhile.

Errata: Pages 5 and 6 of this number, starting at measure 163, contain numbering irregularities. Corrections are as follows:
- Delete the empty measure numbered 163.
- Re-number measures 164 to 206 (song end) as measures 163 to 205.
- Rehearsal marks numbered 170, 174, 182, and 190 are correctly positioned, but due to the incorrect measure numbering, there appear to be two measures with the same number for each of these rehearsal marks.

#2: Serious

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup, switching to acoustic guitar for the final 4 measures (85-88).
Tones: I used the following tones:
- Measures 1-47: Clean Chorus sound, plus a subtle 420ms delay with approximately 2 repeats.
- Measures 49-57 and 69-72: Disco Wah sound (clean, slightly compressed).
- Measures 58-59: Fat Lead sound, with a 450ms single repeat delay.
- Measures 73-76: Clean (no effects).
Technique/Changes: I mostly played as written, with these adjustments:
- Measures 9-11: I employed palm-muting throughout.
- Measure 73: I initiated the Clean sound at the start of measure 73, not at the end of measure 74 as indicated.
- Measure 86: The key of this number has been lowered by a half step from the original. The large Eb sus voicing in measure 86, originally a 6-string E sus, is now unplayable as written. I played a Bb/Eb/Ab triad at the 3rd fret on the G, B, and E strings.
Errata: A note at measure 33, “Acoustic Gtr. Cue,” is likely a remnant from one of the original Broadway scores. This appears to be an editing error, as no acoustic guitar is used. Disregard the note and play measures 33-36 as written.

#3: What You Want (Part 1)
This is the first of two numbers in the show so expansive they are divided into two parts. It’s the most high-energy number in the show (facing stiff competition for this title) and a thrill to perform.

Instrument: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tones: I used these tones:
- Overdrive: I blended more clean signal into my distortion for a crisp, yet not overly distorted tone, and added compression. This tone is used for the majority of the number.
- Clean: No effects. Used only in measures 87-94.
- Clean Chorus: Bright, clean chorus sound with a subtle 420ms delay. Used in the reggae section between measures 108-150.
- Lead: Fat overdriven lead tone: Used only in measures 151-154.
Technique: This number is highly orchestrated and arranged. Accurate and crisp rhythm execution is crucial throughout. Most chord voicings are written; I suggest voicings for important sections where only slash marks are given.
Changes: I played the part as written, with these changes:
- Measure 6 onwards: I didn’t switch to a “clean” sound (as marked). I used a light Overdrive throughout most of the song, including disco sections.
- Verse section (measure 6 onwards): No chord voicings are given – only slash marks. I suggest using ascending voicings on the D, G, and B strings, as exemplified below. This approach can be applied to every verse.
- Disco section (measures 21-28, and numerous other instances): I primarily played octaves, omitting the middle note (5th) of the triad for a crisper, more resonant sound.
- Measures 87-94: Switch to Clean sound.
- Measure 95: Switch back from Clean to Overdrive.
- Measures 107-150: Switch to Clean Chorus for the reggae section.
- Measures 151-154: Switch to Lead sound, then back to Overdrive at measure 155 for the transition into Part 2.

Recommended voicings for verse sections of #3-What You Want

#3a: What You Want (Part 2)

Instrument: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tones: I used the same tones as Part 1:
- Overdrive: Used for the whole number except measures 92-101.
- Lead: Fat overdriven lead tone: Measures 92-101.
Technique: This number is a continuation of #3, and the same technique advice applies: play as written, with crisp and accurate rhythms.
Changes: I played this number exactly as written, except:
- Measure 18: I didn’t switch to “Clean” sound as written, staying with light Overdrive.
- Measures 18-26: Slash marks – see Part 1 notes for suggested ascending chord voicings. This section is a half-tone higher.
- Measures 27-30: I played fast rhythm using voicings at the 13th fret on G, B, and E strings. Suggested voicings are below.
- Measures 92-100: Switch to Lead sound, then back to Overdrive at measure 102.

Recommended voicings for m.27-33 of #3a-What You Want Part 2

#4: Harvard Variations

Instrument: Mandolin.
I played this as written, emphasizing the staccato in measures 48-49 and tenuto in measures 56-57. The melody is unusual, and required practice to perfect (while I play mandolin, I’m not a virtuoso!).

#5: Blood In The Water

Instrument: Hollow body guitar (archtop).
This is the closest “Legally Blonde” gets to a classic Broadway show tune and the only appearance of the archtop guitar.
Tone: The score calls for a “Freddie Green sound,” best achieved with heavy gauge phosphor bronze strings on an acoustic archtop. I opted for a blend of “Wes Montgomery tone meets Freddie Green rhythm.” I used flatwound strings and played with thumb and fingernails, using the warm neck position floating humbucker sound through a Roland JC-120 preamp model on the Line 6 Helix.
Technique: This song is mostly rhythmic comping with the drums. More slash marks are present than in any other number, along with unusual jazz chords to expand your vocabulary. I developed voicings generally below the 7th fret, primarily using the middle four guitar strings. Key points:
- Measures 12 and 14: The harmonics shown are unplayable because the song is transposed down a half tone. I played these at the 13th and 14th frets.
- Measures 173-178: These show both slash mark rhythm and rests, with a “(cue only)” note, likely due to the book merging process. I chose not to play these six measures.

While not the most technically demanding number, I consistently made more errors in this song than others, likely due to the unconventional jazz chords.

#6: Positive

Instrument: Electric guitar, pickup position 4 with no coil tap on bridge pickup.
Tones: I used:
- Distortion: A slightly less intense distortion than usual, blending more clean sound (between “Omigod You Guys” and “What You Want” sounds). Switching to the bridge humbucker gave a slightly less bright tone. Used for most of the song.
- Boost: Identical to Distortion, with a clean boost for the “rap” section in measures 45-52.
- Wah: Clean sound with wah-wah for measures 7-11 and 25-29 (verse beginnings).
Technique/Changes: Chord voicings are mostly written. I played as written with these changes:
- Measures 7-11 and 25-29: Played with clean sound and wah.
- Measure 13: D7sus voicing at the 10th fret with open G string works well.
- Measures 19-21 and 37-39: I didn’t mute the melody line.
- Measures 34-36: Em, F2, and D7sus chords voiced at 7th, 8th, and 10th frets respectively.
- Measures 45-52: Added boost for the rap section. For downbeats of measures 47 and 49, I played an E5 chord at 7th fret (instead of low E), then a glissando down to the low E for beat 2 (try it, it makes more sense than written).
- Measure 64: C5 voicing at 12th fret, not 15th as indicated. I ignored “Funky, quirky sound” and “(back to Police sound)” directions.
- Measures 69-70: Dm and Eb2 voiced at 5th and 6th frets respectively.
- Measures 76-77: D#m and E2 frets voiced at 6th and 7th frets respectively.

#7: Ireland

Instruments: 12-string acoustic, mandolin.
This number shows the combined book’s slight messiness. Originally, 12-string and mandolin parts were likely played by two guitarists. The combined book calls for a 12-string to mandolin change in just 5 measures in 3/4 time (counted in 1) – 5 beats, which is impossible. I usually drop the 12-string part at measure 99 start, giving 11 measures (beats) to switch. Even then, it’s quick. Aside from adjusting the instrument change timing, I played as written.

#7a: Ireland (Reprise)

Instruments: Mandolin, 12-string acoustic.
More “Celtic Moods”… You have 8 measures to switch from mandolin to 12-string, but it’s longer due to a rallentando at measure 47 and a fermata at measure 50B. Bold players might even play measures 47-50 on mandolin despite “Cue only” markings.
Technique: I played this as written. For 12-string chords at the end (measures 50c-52), play forte with big voicings. D chords in measures 50G, 51, and 52 look like leftover mandolin voicings. I played a big D5 voicing (D, A, D, A) at the 2nd fret.

#8: Serious (Reprise)

Instrument: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tone: Clean Chorus sound, plus subtle 420ms delay with ~2 repeats (same as #2: “Serious”).
Technique: I played this brief number as written. For unvoiced chords, I used low voicings (1st-3rd frets).

#8a: Party Music

Instrument: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tone: Clean Chorus sound (same as #2: “Serious,” but no delay initially). Delay added for F#m reggae chord in measure 15.
Technique: Brief underscore piece. I played low voicings, quietly!

#9: Chip On My Shoulder (Part 1)
Second number in the show so long it’s split in two. A year of plot unfolds!

Instruments: Acoustic guitar throughout, briefly switching to clean electric guitar for measures 188-202 (pickup position 4 with coil tap on bridge pickup).
Technique/Changes: Played mostly as written, with:
- Measures 16-22: Chord voicings starting at 1st fret, ascending to 7th by measure 20, suiting the material.
- Measure 88: Tricky voicing, not just Bm (closer to Bm7(add 2)).
- Measures 110-111: I played root notes of named chords.
- Measures 134-135: Low voicings (1st fret).
- Measures 161-162: Root notes of named chords.

#9a: Chip On My Shoulder (Part 2)

Instruments: Acoustic guitar throughout, briefly switching to distorted electric guitar for measures 106-114 (pickup position 4 with coil tap on bridge pickup).
Technique/Changes: Played mostly as written, with:
- Measures 51-62: Low, full chord voicings.
- Measures 63-64: Root notes of named chords.
- Measures 124-131: Spread Eb/G and Ab6 voicings played exactly as written. Guitar is solo here, so accuracy is key.
- Measures 132-139: Low, full chord voicings.
- Measures 140-141: Root notes of named chords.
- Measures 165-167: Tricky, fast chord changes, easier with a cutaway guitar. Started at 10th fret, up to 13th for F, then F2 (G,C,F voicing) at 12th fret to finish.
- At number end, set electric guitar effects for #11: So Much Better, given the fast guitar changes coming.

#10: Run Rufus Run/Elle Reflects
This and the #11 lead-in highlight the combined book’s nature. Start on 12-string, quick switch to 6-string acoustic for one measure! at measure 26, then nylon-string for 4 measures in #11, then very quick electric switch. Four guitars in ~25 measures/90 seconds.

Instruments: 12-string acoustic for measures 1-18, 6-string acoustic for measure 26.
Technique: Full, low 12-string voicings for measures 1-11, jumped to 5th fret for Vamp at measures 15-18 before quick 6-string acoustic change. Quick change to Nylon-string acoustic at measure 27.

#11: So Much Better
Big, vibrant Act 1 finale. Popular song, often used for Bows (measures 78 to end). Classic O’Keefe – 10 key signatures in 124 measures. Busy guitar part with mostly written voicings, play as written to lock with rhythm/brass. Practice needed, part doesn’t repeat much.

Instruments: Nylon-string acoustic for measures 10-13, then very quick electric guitar change, pickup position 4 with coil tap on bridge pickup for measure 17 onwards.
Tones: Basic Distortion tone from measure 17 onward, except “more muted” section (measures 34-48) which used a clean sound with slight overdrive hint.
Technique/Changes: Played as written, with:
- Measure 20: Low Eb unplayable (number dropped half step). Played Eb5 voicing at 6th fret.
- Measures 72-77: Rhythm and chord names only. High chord voicings at 14th/15th fret, as shown below.
- Measures 80-83: Ignored “CUE ONLY,” played as written.
- Measure 92: Ignored “(lead),” stayed with Distortion.
- Measures 94-97: High chord voicings at 10th-12th fret on G, B, E strings.
- Measures 98-100: Low voicings at 2nd-4th fret.
- Measures 117-122: Ignored “Heavy Dist.”, stayed with Distortion.

Recommended voicings for m.72-79 of #311-So Much Better

#11a: Entr’acte
Basically #11 from measure 78 onwards, shifted up half a step.

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tones: Basic Distortion tone throughout, except “Super Lead” section (measure 24 onwards) where I added clean boost and EQ tweak for fuller lead sound.
Technique/Changes: Played as written, with:
- Measures 3-6: Ignored “Cue only” and “8va if poss.,” played as written.
- Measures 17-20: High chord voicings at 10th-13th frets.
- Measure 24: Added clean boost as described, kept it to the end.
Errata: D/C# chord in measure 38 incorrectly written as C#5. Shift voicing up half step for D5 voicing. Other instruments have C# root. Likely a transposition error.

#12: Whipped Into Shape
Another high-energy, popular number. Big, exposed guitar moment, busy, challenging part. Several effect changes needing multiple pedal switches on a stompbox board. This difficulty drove my digital effects setup choice.

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup.
Tones:
- Clean, with wah: Main verse and chorus (measures 3-27 & 43-63).
- Clean: Callahan dialog sections (measures 30-42 & 64-82) and lead-in to solo (measures 83-88).
- Distortion with delay: Guitar solo (measures 93-114) and Pesante chorus (measures 115-122 beat 1).
- Distortion with wah: Big Funk Rock section (measures 122 beat 3-130).
- Distortion with delay (again): Guitar lead line (measures 131-134).
Technique/Changes: More than any other number, I played this note-for-note as written. Technique tips:
- Measure 43: Muted 16th notes with wah: slowly open wah across measure.
- Measure 88: Quick Clean to Distortion with delay change at measure end.
- Measure 99 onwards: Played starting in 6th position.
- Measures 107-110: Chord voicings on G, B, E strings, starting Bm at 14th fret, down to F#7 at 9th.
- Measure 122: Quick Distortion with delay to Distortion with wah change on beat 3.
- Measure 130: Quick Distortion with wah to Distortion with delay change leading into measure 131.
- At number end, set effects for end of #14: Take It Like A Man.

#14: Take It Like A Man
Pleasant, but one of the more disposable show moments, cut from the “Jr.” version to shorten runtime. Mostly acoustic guitar, short electric section at the end. Very quick guitar change over 3 measures (<10 seconds), set electric effects at previous number end.

Instruments: Acoustic guitar for most of the number (measures 1-107), electric guitar, pickup position 4 with coil tap on bridge pickup for measures 111-123.
Tone: Score calls for “U2 The Edge type sound w/delay”. Used my basic clean/distortion mix, slightly less distortion than usual, plus 300ms delay with 22% feedback, 25% level mix.
Technique/Changes: Played mostly as written. Technique tips:
- Measures 37-64: Low, full chord voicings at 1st-4th frets.
- Measures 90-93: Low, full chord voicings at 2nd-4th frets.
- Measures 100-107: Low, full voicings at 2nd fret, jumping to 6th/7th in measure 107.
- Measures 108-110: Very quick guitar change to electric.
- Measures 116-123: Play at 11th fret with open high E string. Score shows 8th notes, I made it busier with 16th notes.

#14a: Kyle The Magnificent
Short incidental music. Several dialog cues, watch the conductor!

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup throughout.
Tones: Clean tone with wah for most of the number, clean tone with 450ms delay for measures 20-22.
Technique/Changes: Played as written. Technique tips:
- Measure 1A: Hold back glissando slightly opening wah, then slide down. Sounds great!
- Measure 15: Cycle wah quickly holding chord.
- Measures 17-18: Cycle wah closed to open on each run note.
- Measures 20 & 22: Watch conductor to time glissandos, clean cut-off with band is key.

#15: Bend And Snap
Show “jumps the shark” again: Paulette sees Elle’s imaginary Greek Chorus. Huge, hilarious, popular dance number… Most fun number to play. Dig in, let loose with wah, no pedal changes!

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup throughout.
Tones: Clean tone with wah throughout.
Technique/Changes: Played as written, with:
- Wah: Liberal wah usage throughout. Nothing too over-the-top.
- Measures 11-16: Chord voicings on middle 4 strings for chorus. Am7 at 5th fret start, D9 same position, up to 7th position for F9, back down for remaining chords. Same pattern in all chorus sections.
- Measures 98-105: Final chorus. Busier rhythm, especially for F9 chords, really digging in, extensive wah.
- Measure 108: Watch conductor for cue into last measure.

After 15: To The Courtroom
Short scene change number.

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup throughout.
Tone: Score gives no tone advice. I used clean for this and #15B: Lovers!

#16: Gay Or European
Comic show highlight: polka about American European stereotypes! Fun to play, mostly mandolin.

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup for measures 1-26, mandolin measure 37 onwards.
Tone: Clean tone with palm muting for electric guitar part.
Technique/Changes: Play mostly as written. Mandolin articulation marks (staccato, tenuto, sforzato, etc.) are key. They really bring out the part. Changes:
- Mandolin chord voicings for first verse (measures 45-64) are fuller, 4-string voicings, later voicings are 2- or 3-string. I found first verse voicings brighter, cut through better, so I played most first verse voicings the same (easier to play too!).
- 3-string chord voicings for 1/8 notes in measures 107-109 beyond my technique, I played top note (melody) of each chord.

#16a: Gay Or European – Playoff

Instrument: Mandolin. See #16 notes.

#17: Legally Blonde
Only “down” number (one-off). Combined guitar book evident again in frequent guitar changes.

Instruments: Nylon-string (measures 21-101), electric, pickup position 4 with coil tap on bridge pickup (measures 101M-121), acoustic guitar (measures 129-162), nylon-string (measures 175-178).
Tone: Clean tone with chorus, as directed.
Technique/Changes: Played as written, with:
- Measures 73-80: Full chord voicings at 2nd position.
- Measures 107-121: Electric guitar part very quick. Played at 3rd position (Eb fingering), used pick, finger picking slightly easier.
- Measures 122-129: Very quick acoustic guitar change, important to hit F# inversion at measure 129 cleanly, and voice it as written.
- Measures 163-174: Nylon string change back for last 4 measures!
- Measure 177: F# played at 13th fret.

#18: Legally Blonde Remix
Show rushes to wrap plot. Long, complex number, mostly underscore with delusions of grandeur, title suggests up-tempo rehash of previous number, with “Ireland” splash.

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup for most of number; 12-string acoustic for “Ireland” reprise part (measures 108-164).
Tones:
- Clean with wah: Opening vamp (measures 1-3), disco wah atonal clicks in measures 81-84.
- Light Distortion: All other song sections except 12-string parts. Usual Clean-Dirty mix, Dirty mixed lower than usual.
Technique/Changes: Played exactly as written. Many dialog cues, safety vamps. Conductor needs decisive lead, band follows. Playing tips:
- Measures 49-50: Eb5 voicing at 1st fret (Eb, Bb, Eb) on D, G, B strings for measure 49, reached over to add low G root for measure 50.
- Measures 104-111: Fairly quick 12-string acoustic guitar change.
- Measures 112-163: 12-string section for “Ireland” reprise. Low voicings where no specific voicings given. Measures 152-164 chord changes very fast, worth practicing.
- Measures 165-171: Very quick electric guitar change back.
- Measures 216-221: Disco octaves: Ab octaves on G and high E strings at 13th fret.

#19: Scene Of The Crime
Plot steamrollers on with more “Legally Blonde” (up-tempo) reprise, quick “Omigod You Guys” reprise to finish as Elle wins case. By now, you just want it over…

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup throughout.
Tones:
- Light Distortion: All song sections except final vamp at measures 85-86. Usual Clean-Dirty mix, Dirty mixed lower than usual.
- Clean with Chorus: Measures 85-86 vamp only.
Technique/Changes: Played exactly as written. Conductor must lead decisively, band follows. Technique tips:
- Measures 3-6: Low voicings at 1st fret for all chords.
- Measures 29-30: Slide for glissando as directed, but not really needed.
- Measures 53-56: High voicings starting C# at 9th fret, ascending through measure 55, then low voicings for measure 56 chords.
- Measures 85-86: Vamp with Clean Chorus sound. Segues directly into #20: “Find My Way/Finale,” supposed to start on nylon-string. Can’t be achieved. I recommend playing first #20 note on electric, then guitar change quickly in measures 2-10 of #20, where guitar is Tacet.

#20: Find My Way/Finale
Elle declares victory in syrupy last song (Paulette subplot gets another sneaky moment). Everyone smiles, one more “Omigod You Guys” reprise to close.

Instruments: Nylon-string guitar (measures 1-110); electric guitar, pickup position 4 with coil tap on bridge pickup (measures 120-169).
Tones: Basic Distortion sound for whole electric guitar section.
Technique/Changes: Played as written. Nylon-string meanders – scripted noodling. Not very difficult, but doesn’t “roll off fingers” intuitively, practice to get flow. Technique tips:
- Measures 69-70: Eb sus 6th fret voicing.
- Measures 111-119: Fairly quick electric guitar change.
- Measures 142-145: Ascending triad run, fast, awkward chord changes, run up neck. Challenging accuracy. Simplify by playing top note of each triad.

#21: Bows
Bows includes passages from “Legally Blonde Remix,” “Ireland,” “What You Want,” “Legally Blonde,” “Omigod You Guys,” and “Legally Blonde Remix” again.

Instruments: Electric guitar, pickup position 4 with coil tap on bridge pickup throughout.
Tones:
- Measures 1-5: Light Distortion. Usual Clean-Dirty mix, Dirty mixed lower than usual.
- Measures 5C-13: Lead. Guitar solo, “What You Want” melody. Added Clean Boost and single repeat delay to Light Distortion.
- Measures 14-28: Light Distortion. Excerpt from “What You Want”.
- Measures 29-37: Clean. Excerpt from “Legally Blonde”.
- Measures 38-44: Lead. Another brief guitar solo.
- Measures 46-49: Clean with Chorus. Arpeggios – still “Legally Blonde”.
- Measures 54-77: Light Distortion. Section from “Omigod You Guys” followed by more “Legally Blonde Remix” to finish.
Technique/Changes: Played as written. Technique tips:
- Measures 14-17: High chord voicings at 13th/14th fret, as in #3a.
- Measures 20A-20E: Low power chord voicings on E and A strings.
- Measures 30-37: Low, full chord voicings.
- Measures 70-75: High G octaves at 12th fret.
Errata: Measure 70, dynamics should be fortissimo, not pianissimo.

#22: Exit Music
Identical to #21, except omits 3-measure “Ireland” quote at start (measures 5A-5C), and “power chords” section (measures 20A-20H). No dynamics error at measure 70. Measure numbers for #22 correspond to equivalent #21 sections, so all #21 notes apply to #22.