You'd better loop this one.

There are accents that need to be played if you really want it to sound right. And since they are oddly placed, this is an excellent finger-coordination exercise. They are on the 1st, 4th, 7th, 9th and 12th sixteenth note of each bar (the last accent being slightly lighter).

You have to let the first 16th note of the third beat of each bar (it's an A, played on the D string) ring through the next two 16th notes. This requires in the first bar, to leave the third finger on the D string whil playing pressing down the D on the A string with the first finger. In the second bar, you will have to do a "barre" and have you first finger simultaneously pressing down the A and D tring on the 7th fret.

For the record, this is based on the chorus of a very old creole song called "Merci bon dieu", which is a kind of prayer to thank God for the existence of Nature. It's very nave but deeply moving, referring to "Papa Bon Dieu" (they're calling god "Daddy")and explaining that thanks to God, rain falls and allows corn to grow, providing food for the people who can then dance and rejoice to thank him for putting an end to their misery. The drummer of the band I played with at the time came up with the idea of dropping the old boring clave and use a urugayan candombe rhythm on the drums. Since we had no percussion player to underline the drum line, a good old tumbao on the bass didn't work 'cause it left the rhythm section kinda "void", so i came up with the idea of mixing the candombe clave with a funk line by playing 16th notes with some accents.