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GOOD TIMES BAD TIMES
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GOOD TIMES BAD TIMES
GUITAR
The guitar part has do continuous presence throughout
the whole song. performi ng a back-up role for the lTl()S1
part. A 101 of arpeggios or picked chords, glissandos or
slides and hammer-ens and pult-offs played in
combination with backing chord patterns are used .
making this a flowing but punchy accompaniment The
solo parts and fills are based around oil pentatonic (five
note) and bl ues scales plaved at break-neck speed with a
lot of attack.
BASS GUITAR
Essentially a straight forward bass pa rt with mos ttv root
notes to harmonise the guitar chords. HOwl. ....er, behind
the !!oimplidty of the lines there is do fl uency that needs
well executed fingering to allow all the notes in each
ph rase to be heard dearly. In til(> second umson part
between the bass and lead guitars it's unportant 10 gel
the timing precise to synchronise them niu ·ly. Finally,
some of the more syncopated bass require fast, ned!
phrasing.
DRUMS
All the drummi ng on this number consists of
irregul<u rhythms. So. if you want to gt't the drumming
patterns off exactly. it' s worth pdying close dftl-nt ion 10
the drum part in the score, working through it bar by bar.
The bass drum/ snare drum work is wry typi<al of John
Bonham and requires good ti ming and some snappy and
powerful pedal acnon on the bass drum to make il
sound righl
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II
BABE I'M GONNA LEAVE YOU
._- c oc:
BABE I'M GONNA LEAVE YOU
GUITAR
Jimmy Page pla)'5 bot h electric and acoustic guitars on
this number. The recurring four chord sequence on the
acoustic guitar that i ntroduces the song consists of
arpl-ggio chords which need to be picked either with a
ptec trum or the thumb and three fingers of the right
hand. whkhever way is chosen. don't forget to an-ent
the last not e of each !>O that the descending
two note motif made out of the top notes of the chords
<,j ng out dearly. The acoustic gui tar 50\0 breaks need to
capture the broodi ng. restrained mood of Spanish guitar
music and. as in section 00, they can be technically
dt>manding..
BASS
The bass lines ere wry simple. It' s reall y a case of thinki ng
about the overall form of the piec e and helping to hring
out the contrasti ng sections in the music. from the
delicate Louch needed in the repetitions of the subd ued
[8] section to the powerf ul sudden up swing of the
chmactic [[] section.
DRUMS
like the bass. careful cont rol of volume is important here
10 rneke the most oul of the sudden surgt ' mto the
staccato climax dod slight tempo change of the [[)
section. The drums actually enter the musk in the [IJ
section. playi ng what sound.. li ke a floo r tom wi th the
snare drum and from [[) each beat has to be caught on
the cymbal.
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YOU SHOOK ME
lor 1&'-'0
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YOU SHOOK M E
GUITAR
A very typit'dl piC'CP of Zeppelin blues in a slow
compound time signature with moody deliberation on
phrasing and beats. Probably the IllOSI important point is
10gel some good. tight ensemble playing. balancing the
guilarout nicely with the drums and bass to gel the band
and falling together With each highlightro phrase.
BASS
The bass l ine. art> fairfy orthodox being built around the
root. Jrd. Sth. 6th and 7th intervals of the scale and
delivered with a full . rich tone. gradually building up the
volume and attack. Some very dose work with the
drums. .100\1(' all the bass drum and the snare. is catled
for to give the ensemble sound a good driving force.
DRUMS
The simple <-hugging drum rhythm is played with attack
to give thi" blues piece a rock steady momentum. If s
not to blur over the triplet beats when doing fill s
and. naturally, to keep in tight with the bass player.
• Dr Ag..!.,n lhl!> I!> ... t1t>w tIlE" oInd
drum.. Tf"olilv fINo to bm ce COft" at ItIt-
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32
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• GU: NOmort" bonlt-n<:'\ .. f04' t h ~ lltl. J U ~ 1
Iwhy downpidong. lob 01 bt'nl OOlt,,> dnd
pk....ty of mood.
33
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rllvlhm ,,, n- boll'> tr. tht" roltM ftee
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37
DAZED AN
.--
, 0<-
CONFUSED
DAZED AND CONFUSED
GUITAR
Ihen- are two basic themes to this song; COP is the
down-beet lament of the opening bars and the other is
the starkly contrasting heady rock passages in the middle.
Obviously making each part di stinct and striking is the
key task here. Some carefully applied effects such as
dt'lay and a wah-wah pedal are needed (0 recreate the
guuer part effectivelv.
BASS
Ibe bass introduces the song with the main riff of the
down-beat section and. although not a particularly
difficult line. some care should be given to tne phrasing
so that mood and atmosphere of the pi ece are nicel y set.
As for all the instruments, watch the changes from down-
beat to up-beat and back so as to capture the
schizophrenic nature of the song.
DRUMS
Probabtv more than the other instruments. the drums
must dri ve the piece along in the sudden transition to the
racy middle part and keep it going when it 's there. Some
thought shou ld be given to batanong volume and tempo
during the up-beat section !>O as to catch the chmexes
wi thi n it
-
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GIGU: To gt'I the bent on l ht>
12th and 5th frt'b pu..n lh. ' down
ht·t,,,,,,,·n the nu! dnd ttu- P''g or, if you hoi "'.'
01 dt...'P txx:II.>d ....-mi · .i( ou..tlt Of " holt"
betw....'" lht- hndRt· and Iht· !dllpll.'(t',
8 IBd.): Importdnt hd.... lint' wltlng the mood
01 broodl"1\ opt 'n,ng. II should be (>\l('nly
paced and wel in wnh !ht>
3B
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.lI\olIO the pare *",uld be I.'Vt'n.
O',Dr.l : Dunng the and tom-tom
the eighth rote on the (ymb.lls are
contmued on tt\{' hi-bat wnh the pedal.
39


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51
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e l[)rJ DtofJmlt'fv [h(> h'lotlhPll 01ttw drum
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.nd tw..\ drum oJlould 'Iol."I up ol IlU('flll
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(dr.'jull\.' {O tne OItwr p1dY<-'r'! to build It'll'
\IOIumt' up Into a nne lI("j,(l'ndo.
fll'lally oil lull
55
YOUR TIME IS GONNA COME
.......... ---
~ t<.
YOUR TIME IS GONNA COME
GUITAR
Both acoustic and electric guitars are used for this song
with the former employed mainly for chordal work. both
arpeggios and strummed chords. and the elect ric for
some textural lead work with the bo ttleneck. The lop E
string on the electri c guitar is tuned to D.
BASS
For the first round of sect ion ~ John Paul jones plays a
simple two bar phrase but on the secood repeat he
develops the bobs p..art, i ntroduci ng more melodv ..and
moverrent mto il l.\ ith quite a few busy 16th notes. This
must be played very smoothly to avoi d it jarring or
[lnu'o.- I] E....,tlll
Tem Rubelo
becoming cl umsy.
DRUMS
Although the tempo its.e!f is quill' relaxed. a medium
slow 8t h note beat. quite a few 16th not e beats emerge
in the drum pat terns to giVt' the rhythm of the music a
l ittle bounce. The fill s consist of a lot of six beat groupi ngs
and. always with these double triplet beats. req uire
accu rate playing to catch all the beats distmctlv. It's abo
worth mentioning that tht· drumming throughout wants
a sliJiltly dehcate touc h to preserve the d reamv mood o f
the song.
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GUITAR
[immv number ooe acoustic guil.u solo' The guitar
must ht· tuned 10 an open D luning with the bottom E
tuned down 10 D. tht· top L down 10 D dod the B
00\\010 A II'.. d good Kit,,! to try u"inj!, a t humb pick to
tht.· h.l".. note, 10 stand out against ttlt-· chords end
melodv On tht' record tht· guuar b .lctu.llly tuned
100,. probablv 10 w\t' the guitar d !'>Ii¢ltly brighter tom',
hut for ttll' purpose of il 0 is rnore
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COMMUNICATION BREAKDOWN
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BREAKDOWN
GUITAR
A fairly up-tempo number with an 8 beat rhythm. The
guitar part co nsists main ly of repeated root noll's
punc tuated with jagged three noll' cho rds and some
fll'dy improvised solo wo rk. It's ,1 brash rocke r so it
should be plaved with ,1 lot of spirit without too much
attention to finer poi nt s, On the record a I elccaster is
used but there's no real reason why a hurnbucktng guitar
cranked right up shouldn' t do cquellv well.
BASS
The bass is an important element in thi s number,
supporting the guitar considerablv. both to drive on the
moment um of the main riff and on the breaks
where the unison parts between the rwo increase the
raciness of the bass part . The tempo should be kept up-
beat throughout and the slides during the bn-ak need to
be brought out nkelv.
DRUMS
The beat is quite strident so the OdS", drum needs 10 be
firm and powerful. Duri ng the dizzy guitar breaks John
Bonham srneshes the rvmbals wry hard, hitting them
with the middle of the stil b rather than the tips ,111<1 he
accents the rhythm by playing a flam.
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th.· h.h\ and th,' RUII.\I.
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ICAN'T QUIT YOU BABY
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DRUMS
Like lilt.' bass , the drums have a Vl.'f}' role, lTldinly
providmg the beet dOO, together WIth the «I rrying tht' rhythm
(Ilong O'/{'f a basic 2 beat drum ( OfIfigurdl ion. The
beet should work dOM>ly with the and be dOO even but nor.
too fast while the tugh should be (olrP<: tly accented dOO the
dyrumia Wf"II cootrcned.
dod tunes rather than rtwthrmc rht.. (0 flll out tnt>
of tho> socnd and imply It,.. chord lhallJ,>t.., wIth w('11 tuned
IQOt note.... RhythmlGllly the also reeds to M"t'pin l'lt1tly with ttwo
and make SUrf.' thill Ih(' balance of Iht' t'1bl'mhlt> 1>OUnd,
p.lrticul.lrty between the drurrnlb.lss support and the gUltdrfvoc.lllead,
is oght
I CAN'T QUIT YOU BABY
BASS
As Iht-' role centred around ffit-'lodK dialoRue, p1dying
.
GUITAR
Arl(){h('f blul'!> Irad. with .l ..... .J.IUy teplet rhythm and. iro m t he VlXdb
and gUlIJr, (·>.Jlft"!oSivt>. Iyrical l>l.lying. To rt'Ot'dlt> the origioal guit.:tr lio;'
it's worth hdVlng d deN' look at ee very lhdrdl!l'rh(1( way that jimmy
Pdge phr.!.....') 11'1(' venous hcks. and mPIodlt"'> that ht' U_. rathc.... than
le<iming all the notes. Ihe ollmosphl'f(' and fl't'ling gl'1l\'fatt-d by the
gu't.!r IS ttl(' dllimportoint thIng so dvnarmc, soulful phraslIl1; b.llkt'd up
by strong pill,iog the thing 10 dim for.
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GUITAR
The gUitol f part consists m,li nl)' of riff playing and working
within the errangerrwnt but the song form is fairty
complex with several verymg sequences i n the middle.
So. like tht· other rrore involved num b ers. this song needs
to be thought out \\'l·1I in advance as does the of
effects. such as the wah-wah pedal. bow and delay, and
the guitar should take carl' not to over do the distortion
\\ hen pld)'ing beck up.
BASS
Unison riffs with the guitar are the main concern for the
bassist in this one although everything Solid above about
farmha nstng vourselt with the involved structure counts
equally for bot h bassend drums . The di fficulties with the
variations in the middle suc h as severa l new themes a nd
changes in tempo are really collective problems for the
whole band to work through.
ORUMS
Adapting to the tempo changes and variations without
losing the rhythm and some tricky drum patterns in the
middle sections are probably the chief hurdles to be
overcome. Some amount of practice may be required to
master the more difficult bits of drumming.
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86
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mto a fIlO«" fO( ky rhythm v.tlt'n lht> gUlldr
i n. The couple nrm.hob rn the
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111
Ordef Ref. 21494
KY 28940
LED ZEPPELIN I
COOD TIMES BAD TIMES
BABE I 'M CONNA LEAVE YOU
YOU SHOOK ME
DAZED AND CONFUSED
YOUR TIME IS CONNA COME
BLACK MOUNTAIN SIDE
' CO M M U N IC A T IO N BREAKDOWN
I CAN'T QUIT YOU BABY
HOW MANY MORE TIMES

A WARNER CHAPPEU MUSIC LTD/RITTOR PUBUCAnoN
mm>
International Music Publications
~ Ro.M1. Woo;w:ford G""",, E, ..... lea BHN. [NJIAnd

-------c _ _ -.ooo:

GOOD TIMES BAD TIMES

GOOD TIMES BAD TIMES
GU ITAR The guitar part has do continuous presence throughout the w hole song. performi ng a back-up role for the lTl()S1 part. A 1 of arpeggios o r p icked chords, glissandos or 01 slides and hammer-e ns and p ult-offs p layed in combination with bac king chord patterns are used . making this a flowing but punchy accompaniment The solo parts and fills are based aro und oil pentatonic (five note) and blues sca les plaved at break-neck speed with a
lo t of attack.

well executed fingering to allow all the no tes in each ph rase to be heard dearly. In til(> second umson part between the bass and lead guitars it's unportant 10 gel the timing precise to synchronise the m niu ·ly. Finally, some of the more syncopated bass I jn~ req uire fast, ned! phrasing.

DRUMS
All the drum mi ng on this number co nsists of jd~"t.>d. irregul<u rhythms. So. if you want to gt't the drumming patterns off exactly. it's worth pdying close dftl-ntion 1 0 the drum part in the score, working through it bar by bar. The bass drum/ snare drum work is wry typi<al of John Bonham and requires good timing and some snappy and powerful pedal acnon on the bass drum to make il sound righl

BASS GUITAR Essentially a straight forward bass pa rt with mos ttv root no tes to ha rmonise the guitar cho rds. HOwl. ....er, behind the !!oimplidty of the lines there is do fluency that needs

2

. • _ ......-d lhonk = .IJ ...gf1t'f Olt. _-E 1·_ _ ...if '" ..... Ttll" f.r r ..<[<..rll'fm m ttw ~ tf~ KY1IpOftoInl 10 pI.. .. .l..11 _ . Jb'lft I _ ~ _ _. . _ _ 1 · _ . r• ..J\'I' ptIrol"t· Ot"t'd. "'~ nIT oIkorTI..".MiP up 01" brolt-n Dchord dod pYwd Ifl unN)n With ltwo gulLdf.s. ~·b I ~~r..bl m!J'lt'ng h... __ to.Jc:k-up p.. ..t\ th~ YoIth '" (omb"wbon ot ~hdt~ o!nd dt'dm pa b... n ~~n~ f.. ~ .. _ .n b.mod "-"y "JnOO(hh 3 .. . _ _ .c .e ~ o~ ·. 10 be pl. o A . 4o¥J d .. o B.- ..' . _ _ 1 __ • n U='C~ ¥~Y' • Gu ThIS ~ 0f1f" 01 lhP m.E . .

. _ _ I U'1' _ 1 I "od ~ .I.. ~ ... - -~J .)((('O[Udll" ~(hordl. _ ~ __ "..-..- 11 - . • ..V'~~~~~~~~~@f }=@:=-fg ~:l=.. .. - ..... _~ o A E o A E . er O G : 2 jrt't ~~ are - j -l used 10 ..-.. • o V• A o • • o / .. ". .-...

to.nng flf'lgt'f It'It" ~11lt" fingt'flng ior thE. -pl. Op :m3 p.. . ~. :j."" • Yo -• ~~ • -• .. . ..• ~7 ~ .ld of G• . ~ F· • L G• ... I . .. p. _ Qh-lr. on JIll & -1m . ~ p.lth ttM." .tdt. .. . J=-. • p.<Jf4." . & Vi ....~('oId of ttM.=- -. -=.""" . -- "- • Gt t""O nott' dw.r-=l= :j. .. pul ling ott 10 T hnk> b« 1l"'K nli ~ rn.!: ~ . " ttl> .. =-'F/~ 0 " ~ .. folO'~w """" boIr ttw f11'1ot two noI..1 J -. ..--.up oi hft an ...... " ..l _ @."!' boIr on 3/9 & 419 Of. .. ..Id . = 0 p. ...s. p' • •• " It • " Yo • _ 'lIn l ... "="'._ I 1.4 fq & <:. j ...)n.'-i t 1: I • I ! n~ri • 8 . ~ . -.th ee nOR ~... -I>.ndE>X li ng./9 tkMn to " t... IN"'K pull-otk ¥d twmmt"l'o<lrnlogro". In opt'O 4ttn." " . .~J. I .. 11 'nl .. .---.'---.". " .J-- ..€... 1/1J ·_ • I ~ .-- - .0"" _ • • I I _ _ .d t~ =l-\·rr~ =- • .> nng f..• • . or. f l~ II.. fi~ JI ll WIth ItIt- dod -1111 .=.. . .llf':f'" bar . . ~t'PNl 1I~ f1~ 5 .. 'I m()r(> dft\~.

..lllg. _ U l1 U...... '" n-guI.Eo tht-m we through . j .-1 . _-.. .. _ _ • " .bess drarn.... _.....l'1l\ol the on t1Pdl punclUdl10rn (II lhl.. • ______ _ -= I _'-~ . - = == ~~ .l>drum pWo. htgtWy ~'o1'Kopa(t'd b.In" « u ''fll t'd Non> and hokl.~ .off •.- • -II':::: :=F_ .. . I-r.. • " "' .... - = =_ .--._ - -1- _ ~ _ _ " II I ~ ..lI U~ .... _ f ~ • _ _ . thr unpUwd ~n~ ""lth thr \toft O 'Dr...... . _ E c' • _ . _ _ . • GO: PI.. 1 . 0-... .iv the lbth nOh' dlOftk WIth ..lt thecymb.. -. Be.r.Jm\ drumflllng...a Iol: Oil anad...tnd mote .... to nwl. I • en __ " l . __ -.. - . In aloe (II Booh.~ott" th.1r rhythm dg...+-< .." ..I: Aoochw ~ ptt"lt" ol laky.. I . 6 ...

C. 12- C.~ the ~tJ...= = J . D. 0- ... indOle k-dd bi't. _ ~r_ . -. "'A . . ( h o... p.. C. • • -{8. Strong hammesed and bt>nl nol.... ~_ .p. p. D.~ .=. c ho . ~bJ'~mrr.::9 7 ...- dw .D. _ D A to 00<-. ."dl.. .. 1 1 11 1 '-a'" - ~ 1 i .......lIld pn:wide the Ilbh whlk> iI~~ive pi( krng Inleo!>ljll.. L. 1 1 .11 <b>' .lfl('(j wail of tho. IGU: Edgy.L"lo In the> lelt h. " .. ~ C. D.. ~ - O:::J e _. ~ ~ e. - ebe ...D. .---. . ~ • C. t h D.' guua r..

.mng In on tI'lE' off beat . ho. n. • • • • .'dWfY~ . • *= -~~ .. o • .D... ~ ----... aerofd!t' Pll. v. nd • good ~ kJr rt>t" aa..c· ..1 - ~ I! 1 . ThtS nt"l'dl. ~t>ndtng 3 noll" dUM~ Of! • lM? noll" ~. '~ . o • .J: ~.j ~'t. .t'nb on tI'lE' h i noI:f' of Nth group to create thE> ftond d'rT\d\ of ttw OOlI. .-pedled ] noct" ftguA. • • I B.1!ldL buoll...1J: ~~ fill C~hog of . v o +Cod• • [J ' b1 . I '" 1 1 .1 1 r1 en ... " • • • • 1 n fil ns. • . .. • • ..ng . ho." w.. Q. C.... • . 8 . --(Ir.. fvm..

' ( 0Y0*-'1l ~lIlg d >OIid 8th note won. Gt. __~~i') .. _ . A A E 1'" pro . .·11 tho ...D. > "'0.. • be... eh<>... ) c ho.l"'. ~ __ .' I l u wUII..e doublt' bt-J. ~ __a f · ~ftl 'l= I ..'fl a nd Ih. of t tl(> resu 1I1 bt'tV..~ and rolpod ~l¥(d to-hlo. ." 9 .) : Some mQR' dl'fTIJodlng b. '" - o r-. cho. t _ t o •• • -l<roo .0'...u A E o A E I komoo _ ._1 "' ..lr(· drum pundUdlll1g ~. d"..l.. cho. (Dr. ~ )el\o .~~ d rum Sl. cho. C.b w llh the ~n.""..0' --' '-...

E o v• • • • E o • • .~..D. ~ ~ • ""='=' ~ .D. C.~ ~ . -. ..- 10 . ~ . F • C..ho. c ho..o • . - • .p.

p laying what sound. ' "~ <ohould nt.ou~ll\ 1:U1I.' .wry ~mooth and the (k'"o<t'fl(lm1>\ tJ.I dt. as in section 00..t·nclllll: loul ( ho rd '>t qut'fll" til tw o IMr R")('d~. . li ke a floo r tom w ith the snare d rum and from [[) each beat has to be caught on the cymbal. ~ . don't forget to an-ent the last not e of each arpt~o. from the delicate L ch needed in the repe titions of the subd ued ou [8] section to the po werf ul sudden up sw ing of the chmactic [[] section. E •• ..j ng out d early. restrained mood of Spanish guitar music and. dldl1). BASS The bass lines ere wry sim ple. Gl. ~IOUI o m mam . whkhever way is chosen. h (hold ( IN rl". Tilt. •• ~ T~mpo ·1 .. The recurring four chord sequenc e on the acoustic guitar that introd uces the song consists of arpl-ggio chord s which need to be picked either with a ptec trum or the thumb and fi ~ t three fingers of the right hand. DRUMS like the bass. • --. they can be technically dt>manding. The drums actually enter the musk in the [IJ sectio n. The acoustic guitar 50\0 breaks need to capture the brooding. careful cont rol of volume is important here 1 rneke the most oul of the sudden surgt' mto the 0 staccato climax dod slight tempo change of the [[) sectio n.' II . Thl~'" patte-rn ot Ih._c BABE I'M GONNA LEAVE YOU oc: BABE I'M GONNA LEAVE YOU GUITAR Jimmy Page pla)'5 bot h electric and acoustic guitars o n this number.It. It' s really a case of thinki ng about the overall form o f the piec e and helping to hring out the contrasting section s in the mu sic.II ..11.u part..:Ind lop noll'S of e.r. !>O that the descending two note motif made out o f the top notes o f the cho rds <. E .

l '.L:.snd lopfl'...': ..""J-_ 1 _ .iJ TM fipJl1".~= '"=t-l.::. 12 .- to- • • Am A.S -= .w<.... . ~ f..• '6----:1:.1'11 _ _ ~ Yo.:. Olonf 'l F E Am A.&:!" GL· j 7". • __ t>le_ (I. - .~ -.. ..... . .' on ltw gulW . ~ • • 'B. . lrd and 2nd '!ol:n~..._ '"br too · t. . .~ lh. ~ . Ir ~ I._."....E Am .~~'::"=. .. fthomg ttw dI"loIt'OdIng boN Iarw. ~ • ._•.. I E • .- l ~ _~ ~ ~- - ...L-_ J I -• I '~ -~-{gg _1....... .I 10 pI. . . lht'm oIUOlo~!hI.t...' ._ 1 _ .1.11' • : ...... ' . ~ )<IIl .=~=-="' -"".Iy ~ IoN tnpWb In fill by down pilLn.• too 'It_ -- -.fonGl Yo ' =::=J . _ oYl " boo thono 6~~~~~~~~=f1 . ...:._.1onGl . __• -. • Gt.-d out OWl' 'out ~ I!> c~ n'pt'oI"od. " . -g .

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A' r.r-ri.--..- c. . 9""1 -. cho..·.- 0 . (JJ T~m po ·l fA' E • ~ - ---t . ~.".'. UW'!o .l. w . cho. \TfY (INn 100Und p.! Am ".¥ " • I • • clonG ) .- ~--.. _ A JWrt Jorrwny etKtnl: ~ but . E Am ClonC» OIC)"lFlI ~ Yo • ... c ho. Gt. -.In 20 .f: Clod') fA' E Am clonGl V rIJ • • -- W~! . -.--n ~n -.OIQnf ') ~ f..~ ' . •• ..Ih . --.- -..o • • Go: On ~ cho. c bc . GL~ • =.- • " ~.. : ~m • ~ ..:..-<> • • • •• 0..· 1 Do i"'"'""": .. t H.

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-1--gf:1..11I I C lanGl v . .-'-l--1---1--'= f=-·-~ s. .+1I. .:~ .v......:!: :1' X 1 2 X l .§ . -.." -h .t-:- - - t!' - ~- .. . ....:!::.-~ j ':=±j . " ... c lio ... _ -- ~ G. -r" .fl _ ......'" .. ~ ~.. ' - . . --4 r.... .. h. ...== . a [[ t .. -- ..: ~ =--=-~ . :. h .. j! l3 : = :.. Yi::::. ~.~~~ c-~~ • • p. ..:::::i~±~ -'- .. ..~ II • • . • I Am . ~ ~ ~ -~ -= & -r:& I .fl. " -...11 ... . - clio . Olonf ' ! a V X- - -~ ---=:!' .~'~ '_ G" !'~ _" -t=Y ~ ~. +h.'----""' . -= ~ . - - -. t . _ _ • .. f- 22 . -" I . "'W _ ._ { ==:: I 'm Am ~ _ ~ -~.:'- t! t.'>=t2 'f~ -~ ~ . .. - '--. I . • i" :. . e -. ~ •-:. " • .=':jI': ....i:.. ~ _. " 1\. .-- i-ff. 1\. .:f · . ..... :.- >-> ""'- . • "bii --t ....- - §. ~ '¥ ..~~=Jf~~~J':: =~~ _ J_ ~ ~~ ~ . ..- . __ ..-.-->-->.l · l y " • ~~=~~~ .I. . • • . "::::f --:. -. --:. chi>.... _ .....t=: 1- ." _ -""I_ • ~ • • rt... .. -.t..: J... .~W-Jcffi . - a --E::... . .... l""1 . ..':::L... -~ ' . 41 -.:::t=." cha. • ~ ~ • L ~ .': ' p. ~ ~II . • .

23 ...J . ~ r=-r= r= .·l .. .' .= -_.::2'='-'= I ! i ! • •• 'm '.~_ .O{onF Jj F ClonCH ~ --- Gt.--=f=4-' > -= . --- --- F.~ ..

e • -. ..• ~ Qt. . . 4. . 4• • - 4..::... Hi 4 XC v { :jt-. 4• '" clonGl .7 .. ~ ... ~ ..-. .-II 4. ..Am ClanGI 0 lonFt. Am ~ - ... • ~--- e .c ~ - 4. • ~ ---- ...7 :=J .- ---§ D D 4 4 ~ a > • ..'.-~ .:: ~ '.

.=..~ • ::~=--..-. i i=d . . ~_ J '-- • ••7 ~ •• ".i i i I 1 '~ =I I I -.. _ -J-=t . = I I I I I I • .'--. ~=:=I I I '_..~ E • .-- .t ' • •...11 - --. ~ .. ~ ..-.--' -. _ tfwt'.-----------------------. ' • 25 .

=Mo ~~~ =r~ ~mjr~ U--12 ~ . . Some very dose work with the drums. fhto noI~ . .t!oW2t" . If s t. . > 1"1 t 1 ~' .1_ Tho:.hftv mtJttod boo' ttlt' nth! twnd 8 8... bt'oI1 fof lht· mlN< · ~nnmg J'It't'd<.. ~ J h . ". . - . l~:= i9'Ni .. E7 v.on y". .. 0I ~s:'=-..1 .u .. ..- • . • G. N... root. • r:'Fo=r Or-P'i' ~ I L-oI ..nlro hgun' oI11~ 10 comt" tn WfV flfmlv . .. thl\ p..... rich tone.. Sth.. • ~' .. naturally.. L:jJ.......U 10f'Il> 10 IIQUtd 1oOUfld.pj In pt"I1t"l1 unr. to keep in tight with the bass player..- _ ~ Q ... ' "r=._ ---..II lor YOU SHOOK ME 1&'-'0 c_ ....n lhl!> I!> .. t1t>w tIlE" ~~ oInd drum. ~1 - Itt'fr.. 26 . 1 1M'S karp) 81 OJ .100\1(' all the bass drum and the snare. • . gradually building up the volume and attack... [ftb~ t -t \~ ~ ~.1hm .! ~ i I': ~ . III a1~ lo't. tight ensemble playing.hnlf' thn't' noll' . I"'ro ld. is catled for to give the ensemble sound a good driving force." ... : - ..C.. . o U On lh".th ttw drum. '0() .~ · "'' t' .k.ng [~ IQUndfod oo... 6th and 7th intervals of the scale and delivered with a full . [~~ :w r " ll h 8ottl~ nN... .. ..'fdfM-n 1l:U11. Do ' "\". balancing the guilarout nicely with the drums and bass to gel the band ri~lng and falling together With each highlightro phrase."t.:...~wntial not to blur over the triplet beats when doing fill s and... • Dr Ag. - ...bonk"'l'{ k r!o used f'IO(t'+\. nlll' ('\'1..!. Probably the IllOSI important point is 10gel some good. ~l.... art> fairfy orthodox being built around the DRUMS The simple <-hugging drum rhythm is played with attack to give thi" blues piece a rock steady momentum . '" 011'00 'rJlI1.1 .."l Ih!. _ _ c... .'" f·y ' ' C' .' '" '---0 -u-ti='U-·te U :u. . I O O O I " " " YO U SHOOK M E GUITA R A very typit'dl piC'CP of Zeppelin blues in a slow compound time signature with moody deliberation on phrasing and beats. · · . Tf"olilv fINo to bm ce COft" at ItItrho. Jrd .."0 drum bt'dl 1\ { olIl 'd t ... 'rom lht" ~It. .. BASS The bass line.

· . f'- -. . .. l: fl! ~1 .=J=< ---...~ I . .-I'""""""'l £' "" 1 ' 't=! j-. /II - OJ • - dou~ Ihi~ p.J Ll.lYIll~ A W"ry sound f.tEa . '= t4J4 2 --14 11 "./: Throughout nl'u~<"l. =t'U2 :::'%:. '=".tE~' c • t.. '. .J _ ... "'-- ~l.0· ~ - .'l't'n lht' gUlt..= ~ ~(. U _ n.~ . • -~' 'F _ • --------> ~ • I . J~~ 'J 0. I~ " .ll ml'lody and I"dturl'~ bottlenec k pl.~~.(' lhi~ sort of . ~ ....7 ~ E7 A7 Vo ..mangl'm('nt sound {onvirKi~ 27 .~: ~~f~ . "" _ s -. t=f ± . - _ ." ... ~ _ . ~ I ~ • • ..-.. . .='= :=1. 1""'1 ~ . -!.lnd singel I!I o Gl.-).Lb 1 -<>----> .- =f-c't J'J r .uht .3 .L!~~~~~ L-.lln vtx:..t ..! ~ -. .J~~' lhl' guuar up the m...1f"~ '" .' -IJ.1'\I 10 moll. ~~ ~ '---1 U-J -(t .i6:c!il J • " ~ .J 7'" ~-.. - ~ " ~~ ~..lflPOr1 bt-w. ~:Jb~J =eo. er L.s .1 = . -. .

n . . [!!J E1 ..tor _ _ .l .. " -br ~ " _ .. 0 v. I~~~~ c:--=V~Ir£r .".. • - I . u _ ...'E~ ~ --@~~ ffi~~~ !~~B~ I _ _ m ...- -wvr=P r 28 . _ _ "" . 1 • • • ~ .. _ thot "" .

-.. n 1 -"'_ . c "' . .J. ... L.. "lHHH> '" to ~ '.. 0'1 _ .. Y. nK k i -(8v..----co... ~ at =~~ Gt.... . • cbo... t ho .-. tho. • . ~c • ...- 29 .J n . --{ " lth Botti. -..." ..... ....

0-) I 30 .• " • ~=i- - .

7 IBlues HlI. '. = - = 31 ." • '7 " . p r I = .

~W-~ ~~ _ ~ c. .o-r orOo O" 'er rH -rtl'r' e" e.-~ " . . ~ # l' • ~'1"f'i ' .Rl' o · ln- 32 .r o E7 D ¥o O r 'T ro=r " felf . '.. t> f1'!'!. ~ ~- -< ti ft • • .- -~ 'I .~ 1I " -~ -+--> l( E ~. ..F - • ~ JT . .... . - - ='.. ~­ . I I . "'. ~-' I #'..lYf - ~ . I =' . . + v: 'L • - . f'FE r-- ~ I t> 1 h 1 b 1 h i t> 1 » I hi o -..J} '.y- • • • h I h 1 h I h 1 b 1 . - . .

• GU : NO mort" bonlt-n<:'\ ..B' B' . f04' th~ lltl. . 33 ... ty of mood .. JU~1 Iwhy downpidong.•• -' .. ..> dnd pk. lob 01 bt'nl OOlt..

..-"J. tht" roltM ftee II ~ t'. n. J (ceil .*"".....»\t beee to gt't tnl'O'WT'I oil lht- 34 . vo. . ..1"'!: ~11.boll'> tr.-t>_l_ r=r• DI' ..7(-P .~. ....1t ~dl Ll-*' .. I . . P rllvlhm .

. "'. 1'70\1 _ =. ~ . _u _ _ "..~ ..... 35 ...=-'-::-1f - =--+.B7 Yo I l • E7 y _ "" .

-. G.. - --- 0. 36 ." - ~. ... .. .. I....tth Bo bot __ ttl.. e...ed>:-l ... _ --e. " _ _ bo - ~ r • ~.

.c ho.. e- .I~~ · 'i:: c.... t".: d . . Vo ~~ ~ ~ ~ t...p .~ '. p. " " c. p.o . ~ ~ ~ ~~. . '~ . . cho. p.. cho . ~ ~ ~ ~ ~ --~~ -- . !} ".. L J. . ..p... .. .tll. h• • p. 1> • • . ) ~ ~ ~ ~ --- ~ ~ ~ ~ 1- '" .. p. c ho. .p . cho· cho . ~- . _ d >o.. J cho. "h. ~. ~~¥n ~~ "q " t J_ _ .. +h. ~ ~ ~ ~ ~ 37 .~~ ~'. p.:. th . C~ . I4l • _ -" C. - ~ ---~~ .

- ~ . ' ~l nnR down ht·t. ..-mi ·. 'P txx:II. COP is the down-beet lament of the opening bars and the other is the starkly contrasting heady rock pa ssages in the middle. ( .-.n lh. DAZED AN CONFUSED 0<- DAZED AND CONFUSED GUITAR Ihen. key task here. the drums mu st dri ve the piec e along in the sudd en transition to the racy m iddle part and keep it going wh en it 's there. ) .. 3B .' 01 dt.. Some carefully applied effects such as dt'lay and a wah-wah pedal are needed (0 recreate the DRUMS Probabtv more than the other instruments.c ho • • C... Obviously making each part di stinct and striking is the difficult line.--. l> '--.--.. II should be (>\l('nly paced and wel in wnh !h t> drum ~.:::::::::::::::====_::::-' - r-r..'(t'. "- -. Some thought shou ld be give n to ba tan ong volume a nd tempo d uring the up-beat section !>O as to catch the chmexes wi thi n it guuer part effectivelv... . watch the changes from down- beat to up-beat and back so as to capture the sch izop hrenic natu re of the song..·n the nu! dnd ttu.. althou gh not a particularly .D • .. T•• .. .ng..Ilara ... C.... Dr .-.tlt Of " holt" ~Il.. ' 8 IBd.-t= l> . some care sho uld be given to tne phra sing so that mood and atmosphere of the piece are nicel y set.are two basic themes to this song..0 -- G IGU : To gt'I the bent hdrmon l( ~ on lht> 12th and 5th frt'b pu...>d .): Importdnt hd. BASS Ibe bass introduces the song with the m ain riff o f the down-beat section and. As for all the instruments.. lint' wltlng the mood 01 thl~ broodl"1\ op t'n.hndRt· and Iht· !d llpll.. if you hoi"'. betw .dl.. .i( ou..- -. - c h..P''g or. " lht.

.GlJ : U n~n on rnam nit with tht· b.t. '.~ _pla .. ~: ~~ r ! ~ "~ 0 S ". O '.lJr.~ .- ' . ~- ..or ~r v.. • " & .l~ o n the (ymb.-.lI\olIO the pare *".. t.. <>II_ know "'-: S"._ fo< A.. >--t cho. ... -"• IWV"'OI bo"JIILn'ollCl r ...~~ .D.:'------' I ~ Itf .lls are co ntmu ed on tt\{' hi-b at wnh the pedal.. - =. = .c· " --I>- . . Qt. [!!] .£ ~~~a~~ • .'Vt'n.. -.1 . and tom-tom roI[~ the eighth rote bf>... _1aI9 but It '• . .."." ~ii=! . ." e bo •• C. 0 ._ I .". .D.....Em v. • .- r=o Em F Or .." .l.. 39 . .+C . " . ~: 8v. 6~ ~C=L: " .r.Dr.' · (.n. e .=j -. . .l: Dunng the ~dr". Yo 0 j ==. " Qt. --I ~. ~ I Em .. r a..---9 .uld Sol) be I.. " Oon ..

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To .In • V10Iln bow .1hm ht-w.. D• ~~~. ..D."....l'_- • *-~-l l.tIw wxoll Imll' off IhP rho..:::. • ""...Gl - a. .. cho •• C.- .--J -1- • • tht. cha • • C. u tar. --- . .~t.. . • . - . ~~-<'E .. . =.. ....-c~oIll:" th~ ~.1hmK colli ..- w }. - ~~_ .lliJ Ern o • I r "lth V i O U A e-.. \OOU"1 h...--~ --• ~ If...#.00 IN'' • o B..-1= =-"""L -r- ----*~ . -~ :d:itJ= .lw ttll.. . :. ~ -- ---- --.U: Th~ ~~ tt-oIlun. ~. 'lO y"hIk.•~ ::=... ='." nOl:!".11 ="' -. 00 ~ ~""" df\jIT~ bow'll"d wold ~..--- c.. . ' .n~ 0100 Itw a~ IhIIo It \ ('~\' 10 br In~1't """ .t - '" ~ ... . . .n... . 0 ~-- . --.. --....LLtJIDGlf')ill - .j .-. r:I1 -. 'G (0 bow • ... t' ... .. •3 ."d:!:!..--.b.t 1 ..

"" •• .... tr.> ( "tt t . tr-. ~ ~ r "'Uh \/0" • DeL..-oJo ~ r""· h ""'" Del. wtuh..'t:i. imt ~- r-1 -j& t~~ .....r '.. .ll ..u -t:=± ~ ~ .0----.tft.ly p. ~ • ~ ..u • 'GU : Tht.l0 • c.. 0 - .v ~ • ~ OL .1rr~o ~ --- / =-' ~ '.. . - 'F: ~~ ~ ti:W ~ ~ c.>lTlOlo I!> lIl'dllod by dld\\... . ~...t'ffiploVlrll\ d d.>l. e .1rJg thP violin bow fdpldly b._ ...ll k dod fonh d(~\ llw ~ln"lo>. ~ . I I .10 l " .

----- - .. E ._-. thi~ .-II • E• • ..md h.-.lId . Qt.t.. to hrt It ne e ..- .u It-ll~ .Df.. .h e-hat ~kt be It>ft opo oil m poent and llo"mt'fTlbt.-.. rt>pt"olt 1 .1: kPt'p tne m)1hm tlfill 0I')OU 1M" pen cm. . .B. .): Tht.

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--..md IH . ..E. " I ••. cho. c ho .. 'J I _ .. (~ ... '. .. "t "t "t "7' - · ... -:-~ ll - : - . - ...Pld"n......'OITol lt ' mow on ~·ltl~ Ittl' 1...... = VI (e)..K rO'o) .N.11\(1 b... ~ 'h ~ h. '00 ( Ofl( .X e ..k r'It.3 "' _ ~3 . ar •• . pdllt'l"Jb . l' •• cbo ... It - - - ........ E. -'+' .1 . .. ~ ~ -i> J • ':e~ " c ho .1 diHlwlt phr.l~I{ ~h. .-..· to lill[o:t·f .IIW of 1" -' tnpl.. .. ~ • Gt. ~ "I~=~ ' = fJ<~ ... ~*-' - . e ...tly and )moothly... ~ r7 ."'.' .. v . . .. • .l: Thl~ t'o .... - '~"c j" e. . ~ ' ":i-l '='=id bldd .

\'.ldnd out rtwn In '>Imt 1.n • E...11 Itwm ~ &h noI:t. - =.. > c ha. > . .I' .. -... E~)ft .nbt'CI thl~ pert bv USl~ t·rghth and qUdft..ltho... 'ho.·..c. r. IG U : Put d lot 1n10 thot~ c.1'1(" '8 .m d vrbeatod nOh'S as ltwy form ltw h'1¢11 lQ1nt of tht' :!IOlo and must o...-- "• - - - ."'". --fb..E. \'tol. . ..ho .holt-d ..ho . " .' 1.ho• ec.. ho ."'> p1dn'd 'ruba to. nott' tf1lll'b but It'~ Iwtlt'f to 1. y ·~ r"'· . • - • GU: f(ll' ease ol noLlloon 1'"-" tJ<lrn.J---t -.

. +p...e..e. v... +p.... .. . · ~P . • p.E. . ... ~ h. - ...... ~ . . v E.. " • . c."... • -- ... S ". ·C.:- G. . G. - h ..D. ( . ( bo ... .. . rctlO. .... .... 0- ... .. h . ~fI . -- h ..€f..

.·11 - " ..... c. = t'-==P i I 50 .. • .. :::/L __ oc. I .. =11-=. GI.. f • ""'. . ve... ......... .- cbo. _ A- /1. _ 1- .. E.

r= r " -.1Il----. • Dr I: Thrlo ~'d Ihythm 0Pl'dl. ~--r r=-V-. ~ AllhougJ1 ttW' {hofdo... Gt.. ----=-"-= . tho.l coe.ty tht.. • • -l 0.... .. ' B.. • p... fO.r. p.of 1NdIf"« .A -x ..E o (_)_Pickl". ..md ~nds!oOfTM")(ll1d~ on lho.. wt up bov thP ItUlld.octll"f 'MlrutTlt'n~ . P- I.lnt:t' here. Ma...-.b. IN> oKU>fltf'd ott beats.- .up-~dl '\oPCt1()fl • Q. r S. 4Il .mpondnl rolt.I: Walm out lor thP rtMhm ch.I"' qUItE' !>l"1Jk' l~ pl. " ~-r.b~ drum dod tn-Nt to ~t'C:ut . · 1 G. . to ht11I/t11 .l1TlOft' w"~"lI: 51 ..nto Iht> dlmo1' of tht.I. .

\ drum oJlould 'Iol.-- •..nd tw.1hm S2 .v v • ..IIt e l[)rJ DtofJmlt'fv [h(> h'lotlhPll 01 ttw drum thf> ¥Kop. J • p.>~ tht" ~ .u~ "R7.Ilro lnpk>!: lit.."I up ol IlU('flll roIh"K m.

... -... bu9l..Vo• ...1 tor 1'0" _ = 0/ 01- 53 ..... __ . • r: b _ f Gt......l l " " • " " " = §-" 4' GtA ~ ....

=1 . = S4 ._-~' ..'.....01 ..n ."... Ioo".. -'=n ' [ I .-- cho .... ..D.. ~ I .t . • _ _ _ .t::bt::LJ-t.... lI . btl' _ _ ~ ------ . IBJ Em _! . L! ~ "t.+- "." ....... ..U 1"='.. wtI L ..rr rr . "'" u... +C.*" '-- u. iii -..' 4F -:: -= _ -. Dr ~ I c=w ..Em = _ . .

.'l = .. p.. OItwr p1dY<-'r'! to build It'll' \IOIumt' up Into a nne lI("j. p. llHl> 12 p. II p. The.~ ---~--. . ..Of... .. • o• • '. .(l'ndo. .. . p.'jull\.'(h to Ibl .. I'.' {O tne n. .1. . pld~11llt fll'lally oil lull ~l rt'flgth.Em .dfUmml'l (dr. . 55 . Em ~ ~---~--.

introd ucing more melodv .tot .. req uire BASS For the first round of sect ion ~ John Paul jones plays a simple two bar phrase but on the secood repeat he develops the bobs p..<I -~ ..-t:=== = ~ -- .\ ith quite a few busy 16th no tes..• -_ ..t... quite a few 16th note beats emerge in the drum pat terns to giVt' the rhythm of the music a little bounce..=- .. The lop E string on the electric guitar is tuned to D. The fill s co nsist of a lo t o f six beat groupi ngs a nd.tlll Rubelo Tem ----=. always with these double triplet beats.... ..e!f is quill' relaxed..--•• . -. Th is must be played very smoothly to avoi d it jarring or accu rate playing to ca tch all the beats distmctlv... [lnu'o.I] E.. becom ing clumsy.~ • • • • f 56 . --~ YOUR TIME IS GONNA COME t<.:::::::=::::.. § .and moverrent mto il l. and the elect ric for some textural lead work with the bo ttleneck. DRUMS Although the tempo its.•. YOUR TIME IS GONNA COME GU ITA R Both acoustic and electric guitars are used for this song with the former employed mainly for chord al work . a medium slo w 8t h note bea t.art... both arpeggios and strummed cho rds.. It's abo worth mentioning that tht· drumming throughout wants a sliJiltly dehcate touc h to p reserve the d ream v mood o f the so ng...

• 57 . • .• • a ~ ...

= ~ I· . 0 I o..• ...._ .. • ve.-.f- ~ mm' .-. .. 0. I 0 r.. 58 .~ . • • 0" . • • • ."O!"''':. r• t .s. -..

..1< 011'>\1< .. "'-:-1 ~ -. r o... ' ?" -~- --- J 59 • I I • I I s A . • ..'r' or thumb ..ddh' hllJ. mOt-' and .lf In Tem po c G §- - -. 1- • · · • ~ . ~' " - . . .. • • • . . !'" --= -~ t .o Ilnlm.I 1"'''IlfUnl. I ve.. . • I • I I 7 • l I'YLt Ih. l!r1'l. .I -. 6'• 6' 07 C G -- .... . 1 o m.md n~ • . .• .· .:t·f .. mI(IdJ.. -. .. • ... • • • • .u rtar ~hooJd lx· pl'M't1 Youh . .. • • • =j • .uP'Wo<> on Ih. .

..- • A • I p 07 119 1 07 c t !"-=. ' .. ... Tht. an . 8...1. houl. . · hOI.11... '~~~~~~~ ...l . ().-:-----:-....... " ..::::::-: i~. on tilt· !nd lUll" around .=1 Gl..= > A .. 11<10 \"Ih m OH' I!wkxh .~n n n llJo ' ~ ==- ~ ~ t .11 01 . ~ '" • .::-I I l!>J - 1 j .- - r-= 1~ _ • .. r• t G i - .....'Ot. anIJIJw d on ttl<' 2nd 11M\(' "110.-. ~ ..h ~:« •• ...« ... • ---"1 A -~... .=•..1'00 1dJ.------.. "' '--. ~ ..1Il'l1 2ml [. r • r • i...-2 -1 ..- '. " ' I fit Ct ... • .0 -. .1 . > i A r A II _ A_' I • • A » • l. ...= ....l... .----=~••::--. t.. I G • • ... 60 . " 'th lh.-' - : ~ .Uld m ot ion III tlw h.. I j' .. -- : ..- • o • r .1 on till. .I..•• hrw.u.ti~.. ..rill' 01 It".. -:: l=-... ".II" fl111 p l'lI... ~ -: .. . ...L f . c .v. -.-.-! '1. .'..'" -.

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_... . -~ . • • • • • ~ • • _L v 63 . ~ • - 0_ • 6 • . 0' G '-. '" 19' g§. . - . • . ~ ---. ) rg 07 G Kiiii>iJ _ __ f = t f t . • • • ~ • . ~ I • ==V=:::: :-::::::::±:: ~ ~~ r---J ~ .. 6 " ~~' !n • .. " • '- ..---. .. • • - • .---.

0== 0 -'-.1 Tho. ~ .. .= -~ . l .I.'" '\Ith It.-=:.-.. _ .•• I ' . . 'r. 07 • ..: _ ~'-i =1 .m il good 1 '\nl. h ..\ th m 1 1l..lIto"lcllhr(M\uu on tht. = = ::' 1 I ITI I I I= w. A J. f. . i!:J.'I \\ ' '' 'n Ih.--' - r1..~~ • ---s .. D -. - • • \ . _1Ml \.. I. ~ . h. Ildrh 01 th<:o III·lI. · ~ m : J_ Y=t=] J.v.. ! ..-· ' .-..0== . • • .· - A • ~ • . II.. ... .D .10.l fUm llk'd hut "lllllt'tl deMn . •• • '""'-= '". . ~ ~ ~ ~..lhoo o. . :c=' . • • .• (horrf. :===' ..{ -: :: : -... . 3 .. ~f. • Orl(iI.'f111l' of th . t • .'\ ul lon . - l ~tJ----1 "~ ~T ~T!--. _: ..." . . ln\hl... sbum . -. == = : -= -== F _~& _ _ _ _ _ :6'=¥. (It·tt "\. . ..· I . 't=t' t - . ~1 . _ .."" [:k ~ . . .Ind lh . h' Olll_.J.. A . .. .--= ..:rtf e-• * 0... '1 P_ = ==:::: _ A =- r -4.f r71-f+nrm~(J -'-Ti~1 1.... • . -~=.... Th ". .. . " Dr. 1=~. . • ~ I .md .L.- . • -. r-= I _ .h. : " ..• c . .... G t . Pot / lLU-: ==.. 64 .e.I/TUnlTl' == _ ___ _ . " t.: -i::::=:=! _ \-z:::::=::L. ..a.lIt' nol ... A _A . "E..· rl):ht h. ~ 1• 4~ G 07 . • .. =~ ~ : 07 ~~..: : . -.=-t .. 0 (. . t-=. _ .._... . . :. .. .. .. f == .:: ' • t ~~ b ..-A-! " " • " ~_ ..II It .0 1 / • e G .. E'i b _ _ -:"1 .......

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-. ii l> i:JL ~ • • ..... • L . !:'-...j. i i • G • • . ~ • _. I ~ . .6'"r . .' . . !" • jI' i • • • • ·. . .' .. 1I . -. JdY< 4· . .1OIl In ~lrummll1~ tht. . .b.. A • • • • • • . • • ...(~. • .r: • • • .--...om: h. !• • .-~ . . • I I • I J v.0 - :6~~ . .-~ [IJ. ~ • . .. i --. • 1 1 1 1 9 . • ~ • . • • o C t Spol on p"'"'\ r. . ":--':-=--= I .. -..I .. 0- (i t -I I Ie Gt -I . • .. s- • .· lhlh not" I hOff'" . ..• r rrr rrr » ·. .: I -- i I .0' v~ :61' . t"..-' . • ..·I ' j &..' ! I .1 IOCN' lolh h..l~ . 1Il..\(..·. . . . .. .• •.h the . :.~ .. --r ) 1 1 • •I • J "\• " .• •.. ~. . ~ ~ A = . GI.· · • • • • • • • • • · .f .. ~_ t . not too Import. t 1 • ss I !6' I' '?. .-.' .?. • • •• . . •• "-' - ·. . . ! .-. - • .-4. .. ".-.tn t .._ - .. .. . . " ~ -.. .. . 1 =... .-.-. •• • 1== • i" --0 -..)\==:-: T ::"" .' 1 . =r.. G 1 • ... • • • · • • • • ! • • .- - .. ...: -I : ~ --- . • 1 ~ I 1 1 ~ .: ~ ..r L • • -- IT H t~ ll t l H .. ~ :: 'e.. -'- I • . • •• • • ... •• • • • • • . V- .--. a.' ·. . · - -. ~ !. G • 1 . ? 't . Q ?_...

nt. •f 'i l-. i:~ - .. -= = x : ": . c .. I t· = .lg.. .lctu. > \ ': 1 = =1 I '7" 1 •• ~ • in J ... I. lJD-J .Yo _ _ " ====-X -t o ~l . r..0..." T~nlhMl f " F ..'fllh ~ tho. lInunJ • • ~ - ...u solo' The guitar must ht· tuned 10 an open D luning with the bottom E ~tnnl!. - x= = x - .. ...0 J": " • I ~.-. probablv 10 w\t' the guitar d !'>Ii¢ltly brighter tom'. .i.."0 ~ nOft" (~f.! to try u"inj!. .' • " ' • ~~ i • -- t ". . tht· top L down 10 D dod the B 00\\010 A II'. . ~ n [-0 . . 4 '1 rI .. y. ~ . note.'t· ·~ number ooe acoustic guil." N. • U I.ln~ribing il 0 is rnore ( onvenwnt.0------.· h.... .... . 1'. Yo - . 10 stand out against ttlt-· chords end melodv hn(~.. -Yo j. I - J 2~O Fi v· " " _ _ ~ . N to 0".I.ll-. . .l". a t hum b pick to ~·t tht.- .nl to "Ill: out 111. lht· I'hrd'" L . 67 . : IE •l.Im n~ dnd mlddlt· i.. <oUt" not 10 cWn'Ipl. -.. . kX hn.. d good Kit....1 2~ 2 F V r - 0 2 j J i " _V _ _ I .. r~ " : -..1lt'l . tuned dow n 10 D. • " ~I h s C tl -.. 'hI' ~ tht·lTI. j <1 -1 •. "'-.---.". On tht' record tht· guuar b ." -BLACK MOUNTAIN SIDE BLACK MOUNTAIN SIDE GU ITA R [immv P.~I - - r 0 ~~..J".\ oG C " o' ~'. lilt· '-ln~ lnoId\ffi.llly tuned 100.. hut for ttll' purpose of tt.oS bl" f) Gt..' OJIO"'" 4Ild hdrmonK chord-> \\..t-. ..\ _ T Yo Y.. ~ •• " "I "r .I ::t -- > .' ~ 'i ".. . ..

..Ut' ell. 1001 OOtl.ll lht'y . - Yo - - .-Yo .• • . U : \\lwn vou Il IJ\ IN. - L.._ _ O (...- - c I y. ..' ~ .J • I . llOng dlld ('mph ..-= -iT°.. In Ih l_ 1"lol''>o1h'" mJ~ ' 1ht.- .dt .- - Yo Yo _ ..I".s 50· c ."0-- I Y.-= - • • .. (k'drty '00 th.'fTI .z-Q y.lull I 68 ..

69 . ..' -... ----- COMMUNICATION BREAKDOWN GUITAR A fairly up-tempo num be r with an 8 beat rhythm.· h. hitting them with the middle of the stil b rather tha n the tips ..' RUII.\I.. I~~ .1nW!od IlO\\t'1tul Ttl<' rnem 1'Itl( 1 "10: nrt p'IM ·il "'lh " ~uol..1 brash rocke r so it should be plaved w ith . both to drive on the I!iii!2l E o A o E o A 0 E v.h\ and th._ f) ' 8. \\~ o Cl .. DRUMS The beat is qu ite strid ent so the OdS"..I. drum needs 1 be 0 firm and powerful..COMMUNICATION BREAKDOWN ....1 lot of sp irit w ithout too much attention to fine r poi nts. guitar part co nsists main ly of repeated roo t noll's punc tuated with jagged three noll' cho rds and some fll'dy improvised solo wo rk. supporting the guitar co nsiderablv... It's ...I. The moment um o f the main riff and (~sp("dally on the breaks w here the unison parts be twe en the rwo increase the raciness of the bass part .. .I: Th l~ phr. Duri ng the diz zy guitar breaks J n oh Bonham srneshes the rvmbals wry hard .h to be. hd~ 10 bo ptaved QUilt' · i'fm ly '0() lht> limln~ h..good t"'t\-\pt'n th. _....-c:o< -... BASS The bass is an important element in thi s number. The tempo should be kept upbeat throu gh out and the slides during the bn-ak need to be bro ught out nkelv. On the record a I elccaster is used but there's no real reason w hy a hurnbucktng guitar cranked right up sho uldn' t do cquellv well.111<1 he accents the rhythm by playing a flam ..

thm..f10lm 70 .. . ..' b.I.lk'l1(lolll· .. /'.hl:~ aed tho....'- thu*. tim"".0 :@):.0nollo ":N' the limIng of Iht.. ~ thumplng 001 . t..'!' ~ Q Gt In th.lIli1r part.-....tordubtlt-d 2nd \t!... P. .' ~@) -t"l • • -!_ _ ~' . 8 nol~' rh. • •• 1 _ .. Tho.. ----~ . o Dr. tdd!o boll: l on 'I en ordt. ~ OlA I '.rvmbal plolwd on tht· \ndf{'..- ' iSoll .. • - ...~H '.E 0 A 0 E o A 0 E o A o E o A c E o A o Vo .11.n ~ltdl tho'fTOt' . ~ 1 I . tndl It !"\ blur tilt' r'!W.. I • oce.1: . oo.. So 'I m~ be pldn-d ""lh 01 iJlOd 'otFOOgltl\1 h m . "'" ~ to .md ot(U-nllng ttw.~~ drum 1t'<I"" dn"". (I a ...

~_ lID I .Jr=rL ~~ --- . _I: ... ""W I..:. ~ '. "'" .: ~• _ _ ......i... 0 A o E Yo. ~_ _.. .4'<I I • • o A o E o A 0 '\J. 11...J:f----- 71 . _ .... t. lcoo. _ ......~ J J En~ J io.1>0... ) ••11 ....l...- • = . _ "" .o'! = I I b i'1~ :=:u. i' ..<> ...::: !..... -_ _I'<"' In "I' • .

. 41llht· ..ll pawl-null. 1 o A o A a..Ifill. Bnng out llw off b.-..It thl'> POint and lhl' gUltdmt '>hould make sure 10 lit'!.l .'(' 0/ Pflt'rgy . .. wdlOfl hit tht' ndo l)'m h.tllr~ G i8. 72 . • • ...yOCopdlro chortk UdS. !>dm. 1 - __ u.'oil t'f11IJohd~' and hold the 8 noll.lJ: ThtlOf tl'lt· dbovt'..m ('~lr.wnlly..I: l~!oO.n thE> 'oOng form of thl\ PIf'Cl:'. So..ull. .. 10 tht.low. to dri'Vt'f tIll' bot" lint' flt. -l • Gt.. t"WIWnt' must ~ II.lrd tlw lhofu~ . ~ _ • ---- .'flhdlly -.rrrr rrn • ~l fdrghrtoM.' rhvthm '[{'.'' .. ..= 1•• " " A -----.. e OfJ: On tht· "'Pl'dl of ltllS thol'u.

• I ". =:tr :-=-1=-_ A ' ~ I 73 .-. f ..---- II. . ..0 ----1 --. ... - ""'I • _ . E DAD E c A 0 Gl. .. i! ~ -- . .. . . [Q. =.'.1 ' iI= . • .

<.... . •• -. ~--" Do .. p.... h .. pol'l'Cl~ loppv ~nd . iJ ~ _ _ . C..-1- E 0 A o E o A o E o A 0 ...-e.o . • E lID E o A o E .. • C~.1 2. • Gt...l--=----.!h ~ lft'blc> (ulllt'd "!tll up 10 ~. c:ho. _ ~-a t7 .. . -._ p....Thfo amp "'¥Ib 10 be ~ ".-" e. --.. e.D.

. • IM'd • GL In tr<lnKnb"'R It1f. ...on thE> beat."' .. .r...-_ i .ho. L. .wbIt. . I I I ._ .ho.b poo.........un noel' . .Ire Iolmplv not~ -_ .... .. .... '=f ~ . c..........qUl"t"Jt'd '" ~ llll> m. _ - _ -"1-'" c. --~ -- "'I'Wf" <. ..." pI..o A 0 E o A v.-HJo ~ 14 . ...ho .aI\tod '¥O«C~Uf~ ' .lI tvpe noct"!t c.. • •• .tpd\" . . cho.Ilo r. . n- 75 ... . ho #.1l'tR ho:-«" r w 0l'N1M'fIl.. . .... '-* . . ~ E o A o [JA t_ (ho . •• . cho. .md pYwd . .. e . ~.

- _.. o..to· • • . - c~~ bo. ctho.... _..-....1 .. -.... .. t ..-- • ...... .... • .- - I " --. ) .- ... . d lO . ..-. I • (Do - 1>..J • . .~ • e bo . ._ - *.. 996 vV I V . .. _ (.._..- .. . e v o • o • o • o ~ [BJ E _ ....I.'0... 76 . . ~ -- 1 I (l"l r-1 1 . ~ -=u._ . _ - - • ... 11111~1J .. .

.·' } l>. 77 .E o A _ • U<rI o E o A o E D A_ u"" _ D • .- • 1E 1 I' o A E 0 A 0 o E Gt.

.._- 'm ~- - --h. -. h. • - .1_ ' -- _.P... 0. !~ - D e D A D -h. • j - C..-I -.. d ....o .. "0 • .. . -. "0 . D A D ..cho . C.... .--. v. D A t ... • e D . _ · • -..D. 78 . . c.. . D...s.. . .- C.. . to"""" __ • <le. • ~ • ...e.- -- ~-- h.A D e D A D .t. ~ --.

- I~ # centred around ffit-'lodK d ialoRue. G t. dtiiif'-----r~. I I vI' ... (Ilong O'/{'f a basic 2 bed(~rl"/4 beat b..iog ~ the thing 10 dim for.. --07 ~..:tr lio. Ct.1: A ronndent rhythm o n lh t' hi-hat dOO ha)~ drum I~ Import<lnl to gt'1.. out the dlHl"R'nl nUdfl('~ of lh. 9C't tD 1""_ _ _ _ I.lt t 'au lu . Rhyth mlGllly the b.l: A \...j~ 10 ~oIlt"l1 P1<lnt\ voul hl1t. L c ~.... - -..Jlft"!oSivt>...lltJ'" fTwloo:bc fR. eho.' l • . ~ ~ - .:. c_ I CAN'T QUIT YOU BABY CDOOoI """'" I CAN'T QUIT YOU BABY GUITA R Arl(){h('f blul'!> Irad.". soulful phraslIl1. lTldinly provid mg the beet dOO.lrticul. wIth w('11 tuned IQOt note.'f}' ~rdtghtfOfWdfd role.'k ~ ~ "-cho.JJ. r l. cho . 79 .~ . Iyrical l>l.t'ffiltlvt" tocch I~ needed on blb lilt' thl~ to bnfll.r7"1 I . rathc. ~ f..' is oght it's worth hdVlng d deN' look at ee very lhdrdl !l'rh(1( way that jimmy Pdge phr... chord lhallJ.. cne .. I 0 ~ 1 ~.b~ drum ( OfIfigurdlion. v. . with . cho . b...D. (·>. than le<iming all the notes. • .>t. J:l. «I rrying tht' rhythm • I ~ e-" O)....t cho .I 0 rm rn n=.llkt'd up by strong pill. a nd mPIodlt"'> that ht' U_.:.. p1dying Ik~ ~.' thill Ih(' balance o f Iht' t'1bl'mhlt> 1>OUnd.th Ihi!. iro m t he VlXdb dod tunes rather th an rtwthrmc l~. too fast while the tugh polnt~ should be (olrP<: tly accented dOO the dyrumia Wf"II co otrcn ed. ct><> .'.. rht. cho. C. ~ . ~ C.b~ also reeds to M"t'p in l'lt1tly with ttwo drum~ and make SUrf. . i~t BASS As Iht-' I:uildr'~ role v."'o. t"f..lss support and the gUltdrfvoc.. ----ll C. To rt'Ot'dlt> the origioal guit..') 11'1 (' venous hcks. C . ~ DRUMS Like lilt. ..' bass . Do.. •- I .D.lllead. o 0 101.D.. _ J. ~ . Ihe ollmosphl'f(' and fl't'ling gl'1l\'fatt-d by the gu't. ct><>. .J.l . and gUlIJr... niH' beat...!.. bd~~ hd~ (0 flll out tnt> "J>dr'*'rte')~ of tho> socnd and imply It. rn f1'i1 rTl I c=r '7 .IUy teplet rhythm and..t><>. ~ " " U . The beet should work dOM>ly with the ba~~ and be ~trong dOO even but nor. I .lying. p. In mind.lrty between the drurrnlb. Ttw cnoeco not es ~ould bt' <lpprwctwd \\. the drums have a Vl.!r IS ttl(' dllimportoint thIng so dvnarmc. .. together WIth the bd~~ .

__ " ..... . -" 07 " '-....... _ ooao.. . I '-.... """"" ....... • • A7 ~ ==' • "'l~ ' 7 I ..v... . I coouId A. A GL cho. r.. _ 07 . Did ....."..- t>... ~ . ..... ......... .. bM>t'_ .. 80 .. F....

.. ' •• B ' A' ~ _ . <>0.. if "t'lods to sound dear and (onfldt'nl 81 . cha .... •. for . ... v....[g A7 0' • "-.... I .. t• = M ::f .....0' Vo..z .IV . :.:::- t'l\pn.. -r . .~ ~Ivt' • 'GU: Thl~ Is a good t'lldmple of the kmd of phrJ'>ing tholl tht' guiWr part d~~ and Iill. - '...--.... -::-:-f... . -+!c•. -'-. .. t· :? . I _ =1.- <>0.. 0. 0...the m)1hm.... . ET ~ 0' A lon>w \'<lU B' ~ . _ -. _ . - .

hooldn'l bP ol)(t'Ild..:..- ...l.ltly . .I.-d 100 \.•. - - ' - j.. ...n an . F. = =:.!lOft 10 ...qUl't'Jt' to 0111 tht· noll. .:. doo. d~ It' . I 1 1 . ... • . .lll.. r o Gl Th~ ___ _ • 4 1....h to "'" 82 . d.ng olnd ~o>ndIng run pld~. ..0' Yo.l.= IT1 7 1. tbo.. . II Iw .

eed . . .. • • c~ . c ho.IS th.. r8~. <Om..-u. .... _ e ho.A1 . . c. c . 83 .: .J ': O 'C U: Agdm.. e.' A1 . ---t'sv. 0 '8.. A1 1=01"-0=/ 0' 0 ve... . . Do . • 0 c....'<1.guild' ... .... . 'DrJ: ThE> rhythm from bar to bar is very ecrentnc !>O . h • tl= .-0----.. ..1 c ho . 0 ~ ." -3-5>6 _ G' • eee.....-d 10 be Ilueru hut rt's . 1= .. e e. ~Ultdfisl to g<'t you l ow.. p. . • ~ p...): Tht' b... •..1.D.... - ene.Jss hot' mc n. th.J c be .. rJlO\'l'flll"r'll around this POint .' blWn s to pldy c1(h('f In with 1m.>s or you might fly right oN of lhl' rhythm and Imd yourwll compll'IPly o ut 01 nm e...>{.">t· kmd of IWddy . c bo. C.. I Do .. .. to· cho. • .' [Q] 1\1 V. dense gustar runs nt. ...1'. =~G' cho..t' not to do the 'rubaro' 1()()M'rn . j ' ... r. watch the .. ~ .. !! • c. • .

. .-p • ...( 8. . _ oloMF _ v. ..... J 1 . _ _ _ .. C.. D... . .. I ~ --- ... .. _ ~ cho. ~ J' ~. . Ii=~== • = l> .. G.. --.-ITlill.lIL l> • ... • " jj.r... • -.. ~. . .. ...._ ..D....&nriI - _ . .. ~l . po p.... " .. e . '1 c .l>. G..Ef=u:3=j 0' _ -. c =r J- 8' ... . ~ -~-= ... • J>i- . . ..

.... .....{ '1= . • • •> e....oI • as .. • • .. • ..§r..-. . e. • • • ~ e' A e' '" i. ..... 0' . ~ ~ -'~ - ..

~ _. In..hob rn the opt>f11ng bdrs ddd 10 lhe ft"('!mg 04 a SWIng o 86 """'m.. - ' j • • 1 • 11. Some amount of practice may be required to master the more difficult bits of drumming.. • __ .~ . ~ . .- .. lOr. • o GtJ.. The couple ~ nrm.): Tht> rhythm should Ill' d mild ~Wlng rhythm at the ho. BASS Unison riffs with the guitar are the main concern for the bassist in this one although everything Solid above about " E7 ~ ----------~""l t hIOO'oo- • lr.=< • • r. c HOW MANY MORE TIMES oc _ HOW MANY MO RE TIM ES GUITAR The gUitolf part consists m. --- - . RCKI. such as the wah-wah pedal. bow and delay. 'f • --' I~~ ' 2>1 ~.lln lin of In.lh 1)O'(jdl r. like tht· other rrore involved n um b e this song needs rs._..-wnmng. IA.tlt'n lht> gUlldr {~ in. I t~0c -' '. farmha nstng vourselt with the involved structure counts equally for bot h bass end drums . . Irghll'mng up d httle mto a fIlO«" fO( ky rhythm v.): M. -x .ll:HdJv UI) dnd do\\" 10 l)I'odlK(' tht> pul'>dlmg 1·1f. .l~~ I Qt.. -=.Ior-. _lrl ->- . to be thought out \\'l·1I in advance as does the U~· of effects.. and the guitar should take carl' not to over do the distortion \\ hen pld)'ing beck up. .'l1 on It'll' ~ e o (Rd. So.=1.Wdh-I'l.11•• Shot '1 . The di fficulties with the variations in the midd le suc h as severa l new them es a nd changes in tempo are really collective problems for the whole band to work through. ORUMS Adapting to the tempo changes and variations without losing the rhythm and some tricky drum patterns in the middle sections are probably the chief hurdles to be overcome. pld.. . ... wog..li nl)' of riff playing a nd working with in the errangerrwnt but the song fo rm is fairty comp lex with several verymg sequences in the m idd le.._ • 11111l . od for tllf' rTlO'>l part In uneon wllh tht' ~lldf ht>ld chon:h.

.a- I I I 1 • 1 • • I 1 • I . 87 T- The ltr.... .D.a- 0 0 • ) N.."tl\ POIOC on ttw I'I"I.... t • I 1 V I CoILiI .. 2Ir 1 » .....'R" .".- .... II... . .--:..A • I • • 1 • 0 • I .. .. .. E1 J1 J} "'II .E1 .. Q.nil . • r-O ---( v lt h Wov U -a- 1 . )2..==== • G.... ... 1 - .-.1hm '>houkl aho becoeee mono ~ndt>nl: o Gt B.lln ntt ..... I 0 1 • • =< lI: '-:. r . ( .-:: ......--< .

I . .. 11 • h 1 "._ . .!) £7 ( 'l I' - . 1 1 .~! ... 1 1 \...I 1 • • Ff! ....~-- -.-.I ... ~ . V· ...- .- >) ..... ... • ... 1 « j.. I • ..I • (r -.. 1 ... ......I .i !. 1 .jl! -.a- ..l -~' h " {C ....I • • (... .-a - V ~ -~ .r ) I V .1-' .. • I ...) -. ..- 88 ..· a- I ... h 1 • · a....I = jl ... .. i ... . I~-r: -j -! .--~ a.)- 1 '-'• .......-=... .... J1 - ... • . .. . -...1 ~ I .....£7 ..a.. - _.--..- • £7 • V _. • 1 I "'.. 1 . - 1 h ..aI h . I .h -=~ ..

n. ~ • . . . -. ..".'. -. 1 • •I • .-..•'--'---r=c I • .- . .n . I 1 • 1 ~ • I . ' . ... •. - • . I I l ~-t ~ " ./ • . 89 .... • \ I 1-1 - -: - 1 . c A " lID I 'll .. •.n ._~ ... • •I • -= 1 . ..... . " .'• • ...-~ ~ . • I • I • • '-J-' ...A IE .- ..... i-l.. ..et G. •. - • '- .. ....

"":.-T I • I .. • • • • I-.i ) et • • I II _ _ . .I " -~ • ." =====---... 1 • • I .• :r::. ." --y ." .. ..'. I I .~ v· • "..-.. ". .J..... 1 - • • I I -. 1 • I 1 lo I I ([. . • I i -.. • Jt:. - . l>o .. ..... .- VI 90 ....l. 1 I I ..

lrt sound good. • It" • • £..bing 1 makr. 91 .l. - I " • IE . ~'fdl a > '" •• "11..... ~troog p l{kmg Wllh lhot> guita r '>('1 o n th e ~I 11001 pic. -. It d('mol'Xh a ~ of liming . "..mE'lody O~ the ' Bole ro' type tripl"" figure thdl enwrgt"'> oll the end of rte ~o. k up wou ld bo:' the applOdch.. - ..' SOfTIl' di~li rK l SO.. ". y I:. I ..): A f.. . !o{"t1'>4.~ 'P'...L. • _ . • • • . _--_. _I -'I 't ::: • I :..v.---: I t 1 _ V' V I I ! r ' V'f I E .J 3 • .mly lengthy soo built arou od repeated and e xtended ph rolws wOKh hmt oi l ttlt. .I n<! phf.. A r • 1 I A I > A I 1 . -. '------'. mm ..1 • a o Dr": Ihe d rurm p rovide e rhythml( wpoort lor the gUIldr to solo over bu t ttwy also in( l('d:'o(' to the hlg mplet rhyth m.O -'----~ " le t. . A A I I 1 I • 1 • . ~.. r-•• c• .thrs 0 p. The eotes should ~I ng out d t'drly. " and build up the tension w ith and wnn:~>dled fill~ It-'dding up --r-r .m:rh . .

..+p . ~~~~~. cho.. !::"- = .!:~~~~~ .. "" - cbe .J. cho. a (ho. ' ~-''''' .. cho.~. ... - .E E • • 4.-.J.. dta. .+p. - • a 92 .~ cho.

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h.. D p... • » . .. •• • i . .. . • - E Dub .. p... c: ho. • . .. .· - • c:ho•.. ... •. e... ._ =::::. • v 94 .. ">-' _ .• h.-.... . . Dub.. do<>. ~ .C..• p... • e. 4• 4. ... D. • O'A r e.. . p. -(ho... C. ... 0.

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• Ieu: An()(tlt"r example 01 pldVlrlg 'NIlh the bow . Ik"ar in m.od tha t wht>fl you bow d gt...lollthe g l,lltdf bndgt· ~ not arched. unM,..• a VIOlin, '>0 only the ou~i<k> ~lring. an- wally ,KTt'lo!>iblt>. Sonw 1,1 of dcld'o' Will .Hid ....
dl~.

97

_ -.~ '-. . .. . . • .J. .OE<. . . ...P . I- • • ..' ..r= .1: •• l. . - r=== " ~ t...~• • • •_ r.. ~ . 98 .••-' :J a 1 • ! • B..1•• a .. . . r . .C' ~." • • • QI Do 2' r" .---h1-. ._ I:: ." ~ -. . " r • • • --- .a > • I .

..-.on +" <hI .. - to .- _t r"-l .. l~ ..• 4. ~ ...... .. •• U ..... .. -In '...' s.... =... - 4 . 04~..... a w ==0 I 0 I .. . .r....... 0 0 __1m '._ . • a -- a o v • • • E7 H • • •• • . ~ • =--.. 4..• w ~ 4 Go ..- ~ ~ 99 .... r""" ~ »... .. . -- .. "'."" ... ~ .J' " . . -... "..

. . • 100 a - .•...~ -. _ • • • • . .--- a _ II 1 chdlt .• E7 • -.. E7 a • • ..... _ -9lr1 • _ t •. • .

.• " . a> .. .. ~ 10 1 .. - • .. ...... I _ ~ _ 1<I..

' t ""'" It _ 't pot" _ . 1 . _ - ".· .... t 4... J=n • --. . • ~ U> I>n" '_ • - I . 4. I . 4.....---=- .... J::.=" • • "" • • -. • • II: __ 0 -_ -== ~ 102 .--I • . ..

. _ - -ruu..e a. I·.t I" 92' - _"... . .'" ... - e 103 ... ..... ...

. . • • • • 'DrJ: Om" ~hould be l~k(on to get the ~ndre eu m accents nJ:!l on thIS lblh nol(' Ihythm 1 and a nice rollinR beat.I ~ .. 10' . e Te mpo-..

if kJnd of 'ull . ... pn..-. ~ thfo pt. and -< 105 .-w::Ilft boII.8.u..v l." _ . th6 ~._ • ... - _ E7"9) '" • .._ ~.&..And It'lt' biIo~ ee 'u l' biIo~ ('O IlY ~ ..t. _ to a-J..lJ.t ntl In ttW' «hot-!..

~ ._---- G. 0 '. - - -.. • ....""'t ' • ..-11 • """ . 106 .. _ "..

_... 1 =r=r= ill " Telllpo-l - ...-- - - . .I. 'CI. . .- . .(ffi 87 A G ~" - - ~ - • ----'. .I.-...!ch your oOb!lgdlO rypo:' fIll.. 1 ... I f'..I. - ~ ~ ~" ./: W._- «----. IlmlnR 00 lh l\ '07 .

r 1 ~ 1 r= 1 c.-...-=== = --- . v " • ill " • . - .. r 1 0- ~ " v . 1 I . ~ • ~ .. ... -.. • ~ ••• ~ ' " T ~ " ". 1 r r-. 1 Do -'." CO" 1 1 108 ... -. Do 1 .. H ..--. - . "'- .--... .. I I -..." • . ~ 1 :-..r-..G 1 '--'i .

- Fl i ........ ~ J d'_~l<nl · J "'-"'J • • ~ o ) 'J :. p• . • _ _ _ __ d' . y I 1 I V 1 1 1 1 y Y I """ 1 I n Y' U . . 0· I ~ -r • ..-.-... v.:. " l . 1 U I .- 1 I ... I .' ~ - " • ~ • e. ." '- f ' __ . n. 't. 109 ... ' 0· 1 v. 1 I • n .. '. ~ 1 I E7 . .- - _ .

~ i l i li l = ~ r=r~ r=r- ° r-. Gt.) ~ = r= r=F '---03 ~ 110 .-r=oI lj lj f1 c A f1 ~ 4. I '.J. 4.J '--.·t . 4.~..c A f1 4..

.D A D A D A v. So ~ .~ _ .-.lrKl ht-dt IIw ht-II 001 of tho'.J ~ ---.th t">l' 1 dnrm hf<'.oJ ----J --- Gl • Of..t· dru!Tl'>. .- .. _.a.j- ~.. =~F~j~rf=·~~~~~~~F~Jr ~~~ ~ ~-:::I 1 L. 111 . ••• !z = 1 ".J '----.. r lj • .III out .__ - _ D A E(criJ) r it.J .. based dlOUnd d two hI'.. <l rhythm. r--..): Ihe thmar nc pnchng 1010".a...ll tripl. mto the fo«>wound.lh.. -----.

Woo. 21494 KY 28940 ~ International Music Publications Ro..w:ford G""". .LED ZEPPELIN I COOD TIMES BAD TIMES BABE I 'M CONNA LEAVE YOU YOU SHOOK ME DAZED AND CONFUSED YOUR TIME IS CONNA COME BLACK MOUNTAIN SIDE ' C O M M U N IC A T IO N BREAKDOWN I CAN'T QUIT YOU BABY HOW MANY MORE TIMES • A WARNER CHAPPEU MUSIC LTD/RITTOR PUBUCAnoN Ordef Ref.. [NJIAnd mm> . E. lea BHN .M1....

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