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Kiss - Signature Licks

Kiss - Signature Licks

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A STEP-BT-STEP BRFAKDOV#N OF THE BAND'S GUITAR

S i.-LEa AND TECHNIQUES

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7777 W. BLUEMOUND RD.

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13819 MILWAUKEE,

WI 53213

1994 by HAL LEONARD CORPORATION

International Copyright Secured
Unauthorized

All Rights Reserved
of copyright.

For al1 works contained herein: copying, arranging, adapting" recording or public pertormance is an infringement

Infringers are Jiable under the law ..

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DEUCE STRU ER IT.
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DETROIT ROCK CITY SHOUT IT OUT LOUD I STOLE YOUR LOVE SHOCK NlE NlADE FOR LOVIN' YOU
LICKIT UP HEAV.N'SON FI

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they are often referred to as one of the founding forefathers of heavy metal I While many have examined the history of Kiss as a band and discussed the various publicity that has surrounded it's members for over two decades. few bands have made as significant an impact on popular music as Kiss. The Best Of Kiss-Signature Licks book.D.~. . As a result. few have explored the most important factor that has enabled Kiss to continue for so long: the music. In 1974. panning the stereo's balance to the left to allow for rehearsal with just the rhythm section .) The transcription excerpts showcase some of the more significant and memorable riffs and solos from each of these songs. In an admittedly bland era. (Many of the songs covered in the book may be found on the more recent compilation C. panning the stereo's balance to the right in order to more clearly hear the featured guitar part.D. This not only lets you hear the guitar in context. The book features transcription excerpts from twelve Kiss songs which appear in chronological order of release. For optimum study. & Hits. costumes and pyrotechnics that made the band hard to miss. . ::. 2. As many of today's suecessful rock musicians cite Kiss as a predominant early influence. Thrashes. loud guitars and wild stage antics are qualities almost expected of hard rock bands.. the Kiss phenomenon was well on it's way to encircling the globel Kiss' unique music and image paved the way for future rock musicians.. In the entire history of rock and roll. yet catchy songs composed of roaring electric guItars supported by a thunderous rhythm section.. spanning from the debut self-titled album to their most recent release~ Revenge. Smashes. you may choose to study the examples covered in the book by: 1.. these four New York City musicians took the music world by storm with a debut album that featured aggressive.. . With this set-up. Now. early Kiss albums achieved platinum status almost immediately after they were released and by the band's fourth album. playing along with the recording "as is" in order to hear the riff in context.." . Kiss' music offered a more energetic release for young rock and roll fans while presenting an elaborate theatrical image Involving makeup. .. All of the excerpts also appear in audio form on the book's accompanying C.:. the lead or main guitar part is presented in the right channel while the rhythm section dominates the left channel. ~~w.. along with the accompanying recording essentially serves as a "hands-on" learning tool with which to study some of Kiss' best music. 3. but allows you to more effectively practice each guitar part in an ensemble setting. This book focuses on some of the more popular tracks from the Kiss catalog and explores each of the guitarists' contributions towards creating the incredibly successful Kiss sound./cassette recording.

For a more detailed analysis of the theory and techniques involved in these songs. also available from Hal Leonard. check out The Best Of Kiss-Guitar School. you should easily be able to learn the songs and prepare them for performance. Editorial Note: The Best of Kiss-Signature Licks book and recording are primarily designed to help one learn and prepare selected Kiss songs for a live performance. .By taking full advantage of the described study methods.

" guitarists Paul Stanley and Ace Frehley use double-stops to give the introduction it's raunchy sound.DEU (KisS '74) Words and Music by Gene Simmons Example 1 ~Introduction With cranked .) Occasionally. "Deuce" not only served as a dramatic first impression for the band Kiss. called slurs. just add your third (ring) finger. hence the name "hammer-on. For example. Paul and Ace employ techniques known as hammer-ons and pull-offs in order to create more legato (smoother) sounding rhythms within the riffs. This way. the louder the note will be! The pull-off is a technique where only the first note of the slur receives an attack from the pick. a bit more speed and strength is required from the 'eft-hand than if you were normally placing your 3rd finger down and picking the note. pick the double-stop at the 10th fret (which is fretted by your index finger) and bring your 3rd finger down on the note A (12th fret) quickly and with force. For the slur at the beginning of measure 2. you must have the following note fretted ahead of time (unless you are pulling-off to an open string).. hand's pulling action sound the 0 note (4th string. This will enable newcomers to the hammer-on and pull-off to study these new techniques more closely and in context to the • music. distorted guitars. 12th fret) afterwards.. a pounding rhythm section and the menacing (yet catchy) lead vocals of bassist Gene Simmons. You should soon discover that when performing a pull . To perform the pull-off on the last beat of measure 2. A slight pull. above or below the notes. while the following lower note(s) is sounded by the lefthand alone.stops in the example can be played simply by barring your first (index) finger across the strings. you must first barre your index finger across the 12th fret.up. The harder you hammer your finger down. At the end of Example 1 on the recording. sounding one or more notes without the help of the picking hand. to the side of the string as the finger pulls off will help to provide volume and sustain for the next note. 6 . the first 4 measures of guitar are repeated at a slower tempo..off.. before you can play the pull-off in this example. you're giving yourself somewhere to pull-off to. but foreshadowed what was to come on the rest of their debut album as well. (When a higher fret number appears on the lower string in the tablature. Most of the double . Hammer-ons and pull-ofts are indicated in the staff and tablature by curved lines. The double-stop is a two-note partial chord form frequently employed by both rhythm and lead guitarists to add "gritl! to a riff or lick. pick only the first double-stop (notes E and G on the 14th and 12th frets respectively) and allow the left. or "plucking" motion. A hammer-on is a technique where the left-hand's finger(s) strikes the string." When executing this technique. In "Deuce.

J ~ .. a quick look at the tablature will reveal that one guitar could easily perform both parts/ (The lead guitar in the accompanying C. • -oe.. •. iJ . '.ill' P > _til - " ~ . :::'-_r ~' I" -- r: ~! I .--_ .1st Verse and Chorus Upon arriving at measure 14 in Example 2.• Gladwyne Music Publ~Corp~and Cafe Americana All rights for cafe Americana in the U........t Gtr.. ~ • • " .--. • III . J. 7 II . you may notice the transcrip-.--. ~ ~ .-----I _ _w/phase lhifter > let ring --I lei Tin:g ------------ > > . International Copyright Secured All RIgf11SReserved "·EXample . 7A '-'" simile EDd Rhy........... 5 fr. t../cas.. Administered by tntersong-U.. ... • ~ ~ == • tJ .......... 1 2 =L . oil... t .S. ..... -... ! . .. FIK. -....A..~ ~ i ....... Inc... Controlled by PolyGram IntemaUonaJ Publishing.. Inc .. ..1 FS 05 > >~ >>> (phase shifter off) let ring -------------------------. ~ ~ I T ~ ~ >- > .. .Ex....) After playing through these two meassette .-.2J. Inc. 2 . " . ~ ~ •• ~ 4 ... .. - U Copyright C 1974 Hort Productions America. .~-:! 1= . • • .S. ~ II . - II[ _..... ~ Jr. 1 [Track 3] lotro Moderate Rock A!5 Glr~ 1 x U F5 xx 8 fr.... .. J!!!III ~ ~ iii :! ~ . J.. • .... 2 doubles 1. J..D.r~----""""""_'11 4 GIr... I : ~ ...~.... tion indicates that two guitars are needed to perform the next two measures of the chorus riff... J = 126 • 133 4• 4 ~ 11 'pIA G/B > > let rlllg .~ iil .. recording performs the riff this way.S. _' : .... AJI rights outBide 1he U. However.-... :: ~ ...... ~ ~ ~ ftI ~ ~ ill ~ ...

..-. ba . . "' b ". to do. ~""""'III ... v • 'ttl ... _1 I ....rna out _ of here. II...... ~~.. . :r ... ..... II . > :~ "._. N...C... . _ - - and get your grand .... ~ .".. ~. - r ...... > . 2 .....i at v T 11 IS I ~ -- ... And n J. • • ~ ~ > > . 2 [Track 4] lstVene Am =L -i .... • .... - . Ba .. - •._ 11J ~ ~ "' .. ::> > > >- .. Am 8 " L .. ill .... •• f I \. A~':. .. ._ >-.. the notes actually come together to form simple power chordsl Often times. cs D5 N.L this year. This is an option especially worth explorlnq if you are the sale guitarist in a band. -- _+---+........~ > >~ ~ ~ ~ . ""I Pick up. .. ...} -2 J t# _ 'if •• .. - . . .. 1 - j • • 5 " =L -.a - • ~ It.. -• ..I! e v ~ ft V ~ .. ~ II.4 I -........C. }: • it ~ ~ 'i'- 2 iI "" __ -'"""_ tI iii L r i 11 - ~ ~ v " ..J J " - ~ ...._-+o-----t .. ... J~ 'til .. Am 1f: J W" I - • 1111 "I ~I. when two guitars share a staff system in a transcription (also referred to as divisi notation)..... > • . l . EDd Rhy. -good....r ~... ~ •• J.. Fig.. ]If ... - 1 It ..)r~)r r::r....".._... I ta.. ...... 41'1 • i . -til1 ..." ~III- -:C- ~II'" .. old Jim work • in' hard...•'" ~II'" - - '!l- 1liiIIII' ..ures just once...... if you're feel-in' and 1 . - _.C... ..~I~-t • I ~ ""'" .... ._ :. J~ ~ 1':iI ........ ~ IIII' ~ 4 .... :. -.... v 8 I' .. ... ...a ~ :..by. ... •• - .... i~ • i ill ..' I .... it is possible that both their parts may be performed by a single guitar. J..: . H~.. : I CS faI~ I J D3 . _'Jill. j ~ .l1lI •1 wL. ) cs I ..... . • ...... ~ J. .. _. ...by.~ . ~r ~ ~ ~ .. do the things he says..... you should discover that when both parts are played on one guitar. i~ •• " ~.. ....... ofl .... ..~ DS ~ ~ C5' '~ Chorus N..........._ ......«. Ex.. -fi .

U A _.. I Jr-lt" ~ J . :: r tI : : :: ~ ~ : "" . the 2-measure lick discussed above is presented again at a slower tempo for close study..A.... Jl -- """ - .. Example 3 ...... . . .. man be...~ nIce. ~ r~ _ '1 1 - . IiII V ...".. . _1 ...... 3 (Track 5] 2nd Verse Am I Gtr<t 3: w/Rhy Fig.....A v A V A.2nd Verse In the second verse of "Deuce... u ~..:-..W" Hon .> > ... Ex. .... Ace accurately duplicates the drum's very staccato.ey.. >. ...." lead guitarist Ace Frehley overdubs a lead fill which. .#A • U ..hind_ his years.-.... - - • ... To perform Ieft . At the end of Example 3 on the recording. Be careful not to let go of the string completely after each mute.....~.n.. :: : -: -: :: == ~ :.. • .JII' ~ ..... 2 lacet F I: G - . V - I' r' . II .. A v . ". or short... doubles a funky. j... . and muting on the notes in measures 3-4 and 7-8.. 2 + Ii -e- J 1 r--+-. Left-hand muting involves loosening your hand's grip on a note or chord just enough so that the string(s) stops vibrating.. . V A 'iii . I A ft .. _fII J > > ... "_T J -- G:'l ba... ~. . rhythms by employing a technique known as left-hand muting. • filii . II 9 ...I!.... ~~ . release the h left-hand's finger pressure off the frets immediately after each pick attack... ~ ~ 41! ... IV . don't push your cs ~ -----+---+.... 2-measure 16th-note rhythm played on Peter Criss' snare drum.. ... • . When performing his lead.. ~A U ft .. if you're feel-in' .. . • • ..- IA. .. ill you know your man is work -in' hard... _ And .ft V .ft... ...by. _ ". in measures 3-4 and 7-8... as you might accidentally sound the open B string. • ~ He's worth a deuce! » » -...._.... .cs Gtr. U II .

!Ill .. or pitch. '.... ~~ " FL .. At the end of Example 4..) If any of your whole-step bends sound a little "sour..Guitar Solo Throughout much of the solo in "Deuce.... .."..'.. . Also. (In the tablature..-- ~ .. A v • A'I" A .... ~. '" ." ..... ~ >- . '.. ..- . .- ..1 do the -things ~ •"" do... • >' ...>...in' all tL your tears... .J ~:..! I ~ ):/~ _~ >->.: '_'... &I I ~ V •.. .by. . .:::::f:::!::t ..J s- = .. -. On the guitar..J ~ _.. " FL ~.. . whole-step bends are indicated by the term full above an arrow. : ... _..." you may need to work on achieving the proper intonation.>~~ W et t r III -. . "\: .A ..--~ a ft VI V a ft ft WI V V a v _& v a Am 8 " FL '\: J ~ '- I . 10 '. ._ r ~.. -..... -'>~ 1 > .-'I 1... :. p ~ . ..: .: .. to C5 .....: " ' :........> "I ~t.J .. > > .C. .. .'W . ":<:-:-'. These additional fingers will provide you with more strength with which to push the strings.:/-... _ ~~ ---..." Ace Frehley creates some wail- ing lead licks by using whole-step bends.... ...Am 5 cs OS N. If you have trouble hearing the target pitches.::.. play them as regular fretted notes first..< ' '. ~ Ba • by. check out the 1 1/2 step bends in measures 13 and 14... IV ~ •t . v A v A v A u A ... measures 13-16 are played at slow speed. • . .J J 1': " ) ~..J .. .. w • ...... or "target pitch.. when you bend a note....~ _w.... Then..' ' .. . cs ~ DS . ' ~::':'. a whole step is equivalent to two frets. '::: '.>- ~~~ ... ~ >.- ~ J I .... but you're just having trouble physically controlling the bend.. • " I :.. -'ItjII . play the note two frets higher than the note you want to bend." must sound identical to it·s fretted counterpart located two frets higher.. you may want to reinforce the bend with your 1st and 2nd flngers (all of the bends in Example 4 can be played with the 3rd finger). Use the same practice techniques on these bends as you would on whole-step bends (1 1/2 steps equals 3 frets)..t J :> _. . v _. v .<: '" ...... try performing the bend again with the correct pitches still in mind.>->- ba .... •• ~ Example 4 ..: .'.. sft ~ ... r ~" . III..ft...'... In other words.. Therefore. stop cry .. ... if you can hear the target pitch..>. .. These licks provide the perfect opportunity for you to practice the hammer-on and pull-off techniques discussed earlier in Example 1. when bending the strings..~" I' • .... -."...' . _..... ~ :::=.'. A U . its final destination. Ifill V a ~ E' ....:::: :.. : ... '. ~ ... ... ~ ~ _"_.:-::.. . as well as the whole-step bends covered in this lesson.. 1\ ~ he says • II Do itl .

....--i fu]I .--. 'I~ .... • I . / ~ •• r-.. 4 times N~C. fun fun full -..-..:.. ~ .. r •• v " • r •• y ~ ....... fun 11 (~) . ~ :k• JFil. J at -- . ~\..-.... J I -~ -..------.-..4_!_ ...... - ... . \... > - • 7~ a J -- > S I - 3 3 • > >.. loco . ..--.... -.""~ ...n IV '" ....>..... ... . '" UL r' "'" 4. ~A I&. •• _. 1: wJRhy. v ... 1 Otr.. I• .. ~ V A . full "..r-~ full full----.... ~ I""" ...... - >:'"'" I ..._ _...-......... full--.----------~... .... r-IIIIIIII >_ J . .. full full full > > let ring .------------... • 11/2 - .. ~'- ... . I . :> > f hold bend let ring .-------------.. J 2..eII • .------------------------------------------------------------------~----------- full full ltll (~) 1\ ~ ~ -------~...---. fuJI full 8~-~ •• -------------------------------~----------------~~-~~-----------------------------.. V .. _............. I • • - ~ • ...1. . 3 • . TV . \ ...~ ..--i full fun full fu.. I... . I ~ 1 i : ._ ..... ... 4 [Track 6] Guitar Solo Otr........ ~ • '\..A •. . ...... • ~ >-:> \'. .." •• .. . 16 •• .... ... ..Ex. ... 3 Pi&.--..a'....r-. .. ...--------------.IJ . I!!I' ~ lID ....

2 Moderate Rock B 1 J = 136 Olr.... ... stop and relaxl While this is part of the process of developing muscles and tendons. continually pushing yourself past this point may result in tendinitisl(Warning signs: sharp pains in the hand and/or forearm. 05 )( x to fl. In "Strutter. ~. Ace Frehley creates his own variations by employing the sixth degree more frequently.. ~ ~ 4~ 8 fr• iJ • ~ ~~ tt . move up the neck and practice there for a while... ~ A ~ .. . ~... ~. "Johnny B.--I o D fj f • let ring .... melodic guitar part in the intro ana verse to "Strutter" is actually a blues-based approach to rhythm playing which is quite commonly utilized in rock guitar styles.. In measure 1 of Example 1. 12 .. n j.. International Copyright Secured All Rights Reserved .. Corp. ~ GIll t. 4. .• Inc. ~ . ~..(Kiss TR TTE '74) Words and Music by Paul Stanley and Gene Simmons Example 1 ..Introduction and 1st Versa Ace Frehley's pumping. All rights outside the u.-t~ D • • 10 fr.. If this happens. 1) begins with a 85 power chord and then stretches his pinky finger up to the note G~ (6th fret) on the downbeats of beats 2 and 3. """"" ~ 7 fr..----I Copyrlght C 1974 Hen Productions America.- G ---. ~ c ~ . Inc. S fr... • Ex. .. so if it feels too difficult when you first tackle it..) B ~ 4~ • 134211 t •• .. and cafe Americana All rights for Cafe Americana in the UtS. The shorter distance between the higher frets will make the stretch a little easier. Goode.... AlJminister&d by Intersong-U.. ~ x 3 fr.. This four fret stretch between the index finger and pinky may present a challenge for any beginning guitarist... . --. • ~ .. t~ ~...... Controlled by PolyGram International Publlshlngt Inc. 134211 134111 134211 133 • 134211 4 4.. 10 fr.. ~.~--------~~---r--' let ring . . Although the basic guitar rhythms them .• Gladwyne Music Publ. Ace (gtr. allowing your fingers to adjust more gradually. ~ Bm ~ ~~ ~ •u 7 ft.l j..S.s. ." Performing this "rock 'n' roll boogie" style of playing usually involves taking a power chord and moving the fifth degree of the chord up to the sixth degree on beats 2 and 4 of each measure. j. guitarist Chuck Berry usually receives credit for bringing this style of playing into the mainstream of popular music with his famous hit. 113331 • ... Take your time when working with the wide stretches in "Strutter.It 134211 ~." however. u u ~.. :( .... t t ~ . o 4. .." At some point you'll probably feel your left-hand and forearm become warm or even stiffen up.. 4 . selves can be traced back as far as the early delta blues days....A .. 1 [Track 7] Intro Otr. 4.

. ..A.. !: . !.---i !. J .. let ring . t . II . .... : r . ""III .. ~ .... J."'-."'- A'- _:: '!IIi' . I know_ "-'f U I It1. ______. .. .. ~ tr~ I"""'" ... tl ....bout her. X . . lIP .. !. :... ~ . ""' ~ ~ -..". • :: ... p. 1 a J I thing or two a ....~~ ... :: G ~ • ....._ ~!l _ ..- filii -:: '" :..-1 let ring . I I - ." ~ .. v ~ I...0 ~~k W ...ft : : . I ..A g ! V .. n • A j ....--i let ring . . •• 'It I) V ~ : ! . ~ A.. • III! ~ " ""r ~~ v A D 12 =4. ... -tit ... she'll on ._. =.J . v !. J . ~"'- ~ '\. "" .A. !t • .Iy make you Cryl_ A .. ..~ • "i# !. • D ft ~ ~ . ~ . > >- n D • • 1st Verse Gtr. ..: a _ . _IJ ~ r . . . ---..." .: -: ~. "J V .../ $~. : I = ="'""".~ . "..... ~ .J -._ -- '" - . .1 1 A .. iii fill ... it.P : ". - - :J a !.... Ii. ~ I- -'---" ~ let ring . ~ r .L . ~ .. B n J. I I.. r ~ 1 _L ~ ~ . ...... n G • J.~ - - --'- ...' ~j ... I I . !. ~ : I r :: _: :......!..._.. . » • J. ..-. k ..... .. - B ". ~ :.. . -~ .L • .. :.. j ~ "..: J . ~ "\.. r "... l~"'-:: ~r .. --._. ~ ~ A : ~ ....J... .JIIIII . " .. ~ '-.... I 'L ~~ r J . - .. . .J .. f W' ~ I lcnow_ Ott. :~ V A = :! • .. • . ~ .--I n II.: ~ • • ~'-.. r .! I ! .. ....2 B e::' • FiC.• k# ..-_"... ill ! oJ • "fiI' ~ . j "\rr... ~~ ~'- ---- --- J :.. • :. .. - k ....

"'• ~ .= . - ~.... ~ :: .. J . I n I.. !. • . ~~ .. a_ . J • B ft.J :! ift JI . • ..._ ~ """"T . J "- _l - street_ be. . ".ft· ~• I ...J- I 1 r """"" J .. .. ~ ._ 1• . •... . l U .. J _j ..II :! :c 'til • .. r . ..br " yt · I ~ . ...J .... • .~ " • I .- .-. ~ ~ )~ -. ._.• • .._ ~ ~ .side ~ Ow! It ~ "\.. .. v . •• ~ ~'"...... .i. ~. \.... ~: ~: •• ..i! v n . A J> ..........." 4~ VJ .. ~ A J> W' j• ~. ~ /I -'/ r~' :'1 J \' ..._.. :...'... "'" Itr . .... ~ :...:-i. • .... J• ~ • !..r . I' • Ii IJ . . ... •• . • III .. '1 I I X . . - --" r J . l .!:T... her.. ..a: _. j ~ ...... . 'lio.._.ii .--.. ... ~ ~ L '- _.... --'# ''E > ~ ... -~ I ." It J .. a . • .... • • '"-' • ~ walk the 61 I • . . ./v 'V ~ ~P- i• 1 ~~ ~ ~ '"" .. __ • she'll pass _ you by. III'" ~ ttl . X ft . -~ ~ . T t. ... U...J ._ . " ~ .. "''-- " I ~~~/\_ '... "" She'll let you ~ '-'" . V :: : J l. "'-..} ! ~ ..--15 . __ -- _ Jet ring ... ......wi .... B 21 --But when she walks. •r • l1li ... . ~ . '_ -.• ~ ... ... . ..."r u -.... .. ... .- "' 4' . III ~ _!..... [.....'" • ~ ..: .... "~ • 111 .. it . III ."' II- let ring .... ~ • ~ ~ J i • "'-' ~ . 'W' dll : A ..-~ 1 br_..... .....--t 14 ....... ... --t --..l . it ~ •• ill . •• ....~ A 't 'l1li' ----...~ r.I "'--" ~-.. t.. i 1.. I "- - A V 18 . n l~ IIiIII .....~ _...... ~ "" eJ . J.-r" "to./ r ~ 1/2 r-.

.~----------~----------------------~~--------------~----------------~ - AS B!.- ~ ... -~_ .. . ...•.... --I11III . .. " ~ ~~ ~ -J • . v !II I~ . .~ . 1 . 61 -:»: .• ~ • )111 " w . _.. ....--. ~ X ~ r fii6 : ~ . p 1..... . ~~~~~-5A ~ BS ...... ~ . _jill .II.. .... . To better understand the difference between the two methods. 1... JIIIIII"" Bm .t= ~~:~.---'- . .. .. .. " ft • v A a A .. . J III ..in' good.. use constant downpick attacks to recreate the rock steady guitar rhythms heard on the recording. I III... Fig. .... ( ~ ~ I ~ j" I " ..... 1 .- . -'. :--~j Rhy. Strut ... • III t " I II I .. ill ~ • ~ .terl . AS ~ . And the la . • ..... You'll probably notice that the alternately-strummed version sounds weak when compared to the pumping.... I . - j 1.-.r ~ " ~ J -j» j $= ~ t: t= ..j ~ ...bod . Downpicking is preferred because it generally sounds more uniform than alternate-strumming. 2 Gtrl2 _ ..~ .2 J~» ..stood....." -- - ~. • I • ---r JII L .. . Ev ...A--~---+_'I·~1t~~~~----~~~~--_... . :::: j .....~ .~ . t ~ l • ~ .dy knows it's un ..• . ........ •• -: .4 . _L •~ ... first play Example 2 with downpicks only and then again with alternate-strumming. -~IlI ~l- .."" look . Rhy. Ex.c.. "" ~----------~A--~~--------~~~~~~A~----~~~. . iii I I~ . ... . v . A ft . l1li .. 2 [Track 8] Chorus Bm GIr... ~ ~ 1.. I I I ft r J L . --- : . L ~II.1 -......~ l ~r .. ~ " ~. all downstrokes method. '- L ......... ..L " =&. • ..: " • Otrl 1 _ . .Example 2 • Chorus When playing through the chorus.. • • v A • . . ~ ~..... ..:' J Otr..AI .....'ry . "\.. Fig. 1 ~.... .. '\.~l~ r- ~ - - -l- J . . II I . .y says she's " ..... ~ r. - ~._--~ ~-----... . • A v • v . 2 It ~ H~----~L~~-~r[~~~~~~:~~ 1:~--~~~r-~~~~~I~~~~r------~~~----End Rhy.. Fig..II • 4l_ " I~ . ..der .. -- ~.....- .

=# II .... v . et f iIf I ~ I I 'II I ~ • . Strut . =L' : ~ Ii.. Then. ~ ~ ... ...... ~ ~ -:»: 11 ! . we encounter some whole-step prebends.. . jl! : ~ "ti..Otr.. ~ 6- ~ . Example 3 . . = . ft . ft ...2n .J ~ . •~ ... . 1.. III ... _"... • J...... . . ft. 2 AS ..__. Fig. ~= ~ ~I III I~ •• •• • I • iI ~ • ... ~ ~ f . J• = JII . ..... 1. ._ - ~ . 15 . I. -II: . 3 meaL only A' 13 B5 ~ AS B!i G5 C DA EL ~ Ii .. • j ~ l ~ J• • I ~ .. ~r ~ ~ ... III ~Il ~ ~ • ... . 1 - ... ..1 ~..1 1 .. ~ I'tj .J --.... • l !.~ • -iV f ~':"~ r""'. ·1 ~ X _:. -~ :.._ "~ ~ .. ~ WI .. 1.. You must rely solely on your fingers' experience to silently bend the note exactly one whole step...J .' . • I!.... • l. Gtr... ""'" .Guitar Solo The guitar solo in "Strutter" hosts a smorgasbord of whole-step bends (see Ex..... r .. .~ .. 1 • " B 1\ 1 ~ " . Prebend notes are different from "regular" bends in that they require you to bend the note a full step before it is picked.. . !r. 2: wlRhy .. .-Strut .... .ft A ~t I ft =: A ~ •• ~r w ~ A -= t • : . ~ ~ X I "- iIJ :: X ft : . . (Make any pitch corrections while still holding the note....... 4 for "Deuce") for you to practicel However. A~ ... ... .. -- j'- qr j . Pi. .ter!_ - I - - n . .. try and prebend the same note using the preceding bend's pitch as your "target" note... J .. ..:.. You can practice your prebends by first picking a note and bending it up a whole step.. 'Ii I J .11" • J. f ft X r ft...._. ... ... J .terl Oll....r ~. J I' ~ ~ J If ~ j' if . • . ~ I j ~. .61.. ft . ~( Jl il _I ~ • ~ ~~ u- J i.r . .....) This process teaches your left-hand how much pressure is needed in order to quietly bend the string up one whole step. ~ l1li • I _--V l ~ -:..1 .. ~ -.:...... . :. 2.. 2: w/Rby. Fig. "ill :t Otr.. I J .J J c.......t ... BS ~!.n End Rhy.. ~..-... : . in measures 5-8..

~ IV . 1ft "..... .. ~ Otr..... I 11...... I 1 j j .... - - - - - - - - - - .. .. - fun full ... f •A IV • . •A .. full j ~ j..-. I ". 1 I 1 ~ "~ .... / ..... I ....... / I J • • ft_/ ./ ._.. -- ..... }'" I _)..~ 1'1... .• I I f\ full 0 j full A . • - --r '""'][" _Ill -' . - - - - - - .... .. full.. ....... full t~ • full ~~ at 1 full . I ft/ - I " II..- fun --... I IV .V ......... . .............A IV ~ . IV .. DS D!. - • - ..... ~ J . J J ft.. full fun full fulJ full full full 11 . .. I - ...." • full ......... DAB 10 .. / .. ..... . .....# full ~~ r. .. .. FL 3 ~ '\.....5 D5 E5 G C ••• ----------------. - ... I J ..3 I ....... I I lor. full 8~ -----------------------~-------------------------~-~-~---------------------------------------------------- B!i • played slightly "behind" the beat AS B...II !'~ full ~~ - Strut • terl I _w_... I / J I ~ -7 J • ... • I!a . - IIIr .s... •. ~...A~ .. IU • .... f'.Ex.ft ~ I L I! I .1\ ....· - full .. A ~ ~ ~ AS _...../ .. roll ........../ I J ft/ .. . l"J ""\ .... • 1 / J ~.• ......./ ...Ift... "-~ _. 5 full -tul~.... .. I IJ ... J ..... full'" .. • .../ .. /> fun I~ • " full ~~ • /\ full !'... - I 1 .t ~ JW .. ". .... fulJ ~~ !'full J~ -.. 3 [Track 9] Guitar Solo GbI~ 1 " 2:w/Rby Fil...- --II'..

. ring -.. +-.... ... . ---t - let ring .!..... .. After the example....t 2: w/Rhy..~ J I "1.. \... try adding the middle finger for support... - r ...... . • • .... .". • ~ . Ace repeatedly employs a double-stop with an oblique bend to create a catchy lead melody.. Outro solo In measures 1-2 of Example 4......... full • • - at . This should give you the extra "muscle" needed to perform the bend comfortably. 4 [Track 10] Outro Solo GIn. f let ring . Ex..Example 4 ...J .. -t L3.... I .- • • . I .. . .... ----..... • fun A/ .... 4.'" .A IV .- - L:a. • kt ring --i ~ ~ ~ ::"".1 ~..1 .. I . (Oblique is a term used in music to describe when one voice moves apart from another stationary voice.terl ~ .. ~ I II.. ....... 7 / I ... ~ ... ~ -. __..-.. 1 r-. ./ r-. ft.. "'III • •f ~ • V'l . " • 18 ._ .. . ....... .. I I ......._..A IV 4A IV ~ ~ • _4_A ...... '-"" ~J ~ Ii.. 1 .. I' .. • 6 . . A IV ..-Jill J • A ~ ] J • I' • let ring --I r-.. .. ft/ . .. ... the first two measures of the sora are repeated at slow speed. r . I I full . • . .. .. . AI.... ...... ~ ..• AS BS • J J -- !'f#-f# ] - I' Strut ......A IV ./ ..4 ...... A IV r . I I eJ --. ... .... A5 BS • IJ - - --- - Strut ...) This lick is actually a variation on yet another popular riff made famous by guitarist Chuck Berry in the intra to his classic hit "Johnny B. Goode. .:il IV . A5 BS r.. . ._.." To play this lick correctly.." • . 15 • _/ ... -- - ~/.. • f ft • . II - ~--. A . f I full ... barre your index finger across the 1st and 2nd strings behind the 7th fret and push the 3rd string with your ring finger. - --. Fl.. I IV . . " FL 1 • Jr " . '\. Otr~ 3 ~ '. A..": J ~ Il ~ . • A- full . If you find that the string tends to slip under your finger or you have trouble achieving the proper pitch... • 1'f .. /"\ ..-7 t I full .V ~ ... ..J I • • .. full A ..... f I' . let ring ..... t!:::::Ji_ - ..• IV ....-.. .. .1"":...... ter! ~ :-"\ .\1 VI • .¥ ia...A.... . • .. . ' • 4 ~ ~ 11 t l • - r-..' ... • • I . ~ . Ie..

...._I' _ + _... -.. 1\ 1\ Ii .• ...ter! =&' :~ '-' .~ _'A •• I":.. -... ..a"" lV .... fa. ..1.~_ '-' .. T La./\/" ~ r -- ...."'~ . ~ ~ I Ii 11 -. Ii . --......._1-r. . . ..I ._0.. ... /VV" ~ ~ ~ - ..r .... J .. IV ~..J --... --.. ·1&0 ~ 1J ~ oIIl_ 1\ l~ ..... ~ r-... . . . L r.. " .. -•• ............. - .& 1& J .. .J I .. IV ·pJayed slightly ~hind" the beat ns 10 • .. '·'1 ' _/1 . 1"2 12 B • j > 1·9 .... --. ..A IU ./\ *played slightly "ahead" of the beat full 11 D!i GlIa. A ".. full A • . ------.... . . •J - r..... ' "....& ~ J Ii 1 ... .OS ES 7 ~ A ... L....._ 1\ -. I&.. ...._. -~..... r... .. _ ~_ . ...... L Strut ..... j • " .. ~ I I iii II.. \IZJ TV --.. .. ___.. . ~)t)---------.... 0.* I I.A~ ....... ....I J . .fL~. ~_.... ... ~ ~ /'\.I ~ J 1~ .-J ...LI'.. _~_ ~ . ...... .... -. ..' . ...

. A ft '" v . All rights outside the U... Administered by I ntarsong-U.:._ ----t~ ~~ V r-I V filii :r# ... When you use this pattern. as well as when playing the muted string attacks (represented by the first measure.. I· .'74) Words and Music by Ace Frehley Example 1 -Introduction In order to perform the intra riff for "Parasite" comfortably and up to speed.A .. Inc.. Copyright 0 1974t 19n Hori Productions America. as this will help you to work on the precise timing needed to coordinate the left-hand's mutes with the right·hand's pick attacks.. The 2 measure riff is repeated at slow speed after the example so that you can more clearly hear the exact rhythms involved.. II1II ..C... I =1C..S.. V .. 1 [Track 11] Intro Moderate Rock J = 126 . r-I V . .. v -..... This economizes the right-hand's movements better than if strict alternate-picking or constant down . Use left-hand muting to silence the notes before each 16th note rest. - -- _'- -- -~ _ ... -- - . even during the rests.. --.. V q-" : i4I-~ -- -I- -"'" . -~ " 'II I . r-- -~-. V v v . XIS) at the end of When working on the opening riff for "Parasite. --. __.....-... and Cafe Americana AJI rights for C8fa Ameticana In 1118 U. Check out the suggested picking pattern below the staff in Example 1..... Controlled by polyGram Intemationa~ Publishingl Inc. _eJ &I 1 ." start out slowly.... . . A • A A.... This is the best method with which to play the riff at fast speed. A A ... _-.t ... picking was used. you should notice that your right-hand is continually moving up and down. picking: . International Copyright Secured All Rights ReseNed .... you'll need to perform left-hand muting techniques in combination with some predetermined right-hand picking.oiI- -... ....... A • ..S4A. Ex...S. " { " _II I .. V v ~--'"' -. .l J N.. -. -. as the pattern takes advantage of the right-hand's strumming motion.. lnc.. " I 41 r - W I .. ~ " 1 Otr.

.• . -""~ ~-..... - I- - ~ .. ......1 -y~ . ~ r--- ~ I~~ . ~ v ....~...... I A . .t .. .. OS ...• I til . r ...... <.. 1~ ~ -.. .._ - -~~-~ -""-'" ... .. ~............. When played up to speed. T 'P • • ~-. 1 .......- [J lJ . .'r#- ""~ ""..~ ~ 21 .....-"".. ~ ~ r- GS ~ 11.... I- ~ fII fII J ~ ~~ ...... J . . L"-..hold .~... .. ~~ ~ -..L.... 2. l• .... 1A. ~ ..-... ~ .. n I r .._ ~ . q-" 'r# .fiI I .. . -~.. • • • • X 1... -~ ....& ..-~ ~.. ~ .ft ~ ft '" "V' on n '"' ... . It ... ~ ..... this process takes place in less than a secondl) By scouting ahead in this manner. -III -~ . (Practice this slowly at first. ~ Ill.... she - ..1st Verse and Chorus Perhaps the most difficult part in performing the chord changes in the verse riff involves moving the barre chords quickly up and down the neck in wide intervals while keeping the rhythms smooth and steady. 'r4I- .. ~ &I f - .......... ... !I ~~ Example 2 ...... ~~ ~ • ~ . If you experience a slight hesitation when switching from chord to chord or your rhythms just feel choppy in general.. start scouting out the location of the next chord before you have to change position... I ways be knew set there to grab did she was me... .. ~ j' I ........... . a n't . .. ..•• . I A ft 6 " V " ... . J .A A A ~ ~ V . . lI!... .. --1-'-'"' " I III - '" I '" ~ _~t..• _"'_~ ... 2 [Track 12] ..A " ~ - .. ~ . tl V I -- .... -.. ~ .- s=+: I- ~ -- I- • . I . • .. you're giving your left-hand a "target fret" to shoot for when it comes time to make that speedy chord change.I~ . v ..... l~ i• ... '. ~ .... ---I - - ..I L z::zt '-- -/ II.I ~ fII':" . t A "• ~ : v = ~ •... ~ ~ ""'l1lI r til J ....~ . try planning your chord changes ahead of time.- ... '\... . ~ III C~ 1-- -"" -'"' ~ t .............. .... ~ . ... .. ~ ... ~. '" " 1.... ... JI .. . tI I----...-.. .. ... Verse 1 .. I.... Ex...".... i .. ..-..A ~ lflii ~ . ~ .. ..... I11III try'ng but want <......... .. ..... know and FtC "\: It ~ Otr.. . I .. ~....' . . ... ~ : J ..... .... :.._ ...~ •• J 1\ ~. .....~ • • .. ~ V . once you strum a chord. :. ...'" • • . " .... ~ ~ .. '"' -~ ..1 2 ._ -"" - .. ~ f "" ... ..~ • ... I .~ .~ :' tI' f.I • • . I _ft_ £ .. A.. ..J She'll al thought I ....... - • ....jJ .....".. 8 L ': ~ ... J :~ . \ ~ .. ' .." . f Ii '" -. ~: ... .. ... • A A U A ~ .... . ."".-:.a. . ..5 (band enters) Ii EL ~ .. -..... ...... .. - r~ ~ -.. In other words.... -~ "" At.r-: I- ...&..I. -4 8 I .. " f Or 'I nl ~-~ _ ~.. -v . "'I :II ~ " ~ A A ..

. ""' - ""' --.1....... ...-.. [ ~ .... • I .... ._.__. . ..t .. 1.JIIIIIl.-~ r--- . II"" ::& '\: J ~ - - .. .......... "'" .. iii"" r. ed her to go home.- - ........ (J~ -~ . .""' . "'" 22 .t ..... til . . --..... .. .. . 7 " =L .......-- - .... .. ._ ~ W w A .....J ......... A A ~ y U' .--. - ~W' ..." . -~ 1 -_. - ..w .. . ._ t- ~ .. " 1 l ill .... • I • ft ." _............ ......1 ~."" ~ ~ ft/ I ~ &I ... .. - - • • 5 . ---..3 1\ et N... I ~ ..I r -j • She that ...-.. ft ft V' W ill .- --: .. -~ ..__... ~ ps .. I • . v ft v A . filii • • • A . - t.._ ... .... ::& . ~-" "" ---.. .... II A~ N.I -...t J It . . ."". III "'!I • - " . M I .:r...1 ..- ~ ~ ~ •~ r...... ~ ( ~ '' q .........- - ""' ____. ~ ~ . -~ -"'" iii I . . ...IIi ...... "" . ft .. "... I . _...111 ---- • I . .___. ... . I ... ::& ~.. . "" L... A A A A ~ ~ . t ~ \:J I .. A:__' -.. J [7 - - at " =L ~ .. A ~ • • . I ..... .. ...~ ........ LJ J " ...... -.. III"'" .~ -......C. r ~ ~ l" •~ ~ . L - -.. :V X ...... .1 ... ..... ._ - I- ----I ~ .... - "'" I • ...C.. .. -"" ... IIIi I I- --.. -- I . ~ I . • ~r • !If 1 III ill .. I- - V .. .....A_ I I - ... I &I - ~ ... -.. • • ....... .- 'U' . I .. ....J • f ." . ~ ~ l t -~ ~ ~ 'J ......

-I/J • I • • • ~t . Ace taps the note on the 3rd string.. dy. -!J u .._ cs 1* """- F5 _"._I V j' ... . Jt II ....... ...' A . • ~ __. • • t --. .. 4.- •~ _.. in order to create a more "hammeron" type feel.... A ...' u .. . eI I . III" -.. 3 I r 3 I ft '\... I •• '" _l_ eL I~ I d . • • j . ... '"* '" • ""' --- U I l1li"t~ • • """ "" -.. ~ .... • • ... Try to achieve a pull-off effect with the right..J :. 13th fret... When performing this lick. -a - site ... ...r~ ..~ '\.. - .II •• . -- ~ ~ -. In the first beat of measure 14../ ~= .. .I . . r-:: "" - ~ - .. a note on the fretboard In order to create wide interval legato sounding licks..-_" . in measure 14 we encounter the brief usage of a tap-on technique... . 'oj V iI!i l J .Chorus 9 Bb~ ft. and as weU. t l_ -. •.. 1 ..n... Measures 13-15 are repeated slowly after the audio example so that you can more clearly hear the tapped note. 1 l .. • . I j~ =~. 6th fret. . I A ~::~ ~ ... '- cs ~:cr . a . Tapping involves using your right-hand alone to fret.. _" ~{ h. cry... •• • •• 'II • •ill ~ .-. simply reach up with your right-hand (while still holding the bent note C.- "" 'III ~ .: ..site - la la - . X 1~ • I V • Ii Example 3 • Guitar Solo While a lot of the licks found in Example 3 for "Parasite" involve mostly bends and pull-ofts.. • • -.. eJ 1 '!~ ... .. . ..:L '... ... with your left-hand) and hammer-on the note B~ on the 13th fret.." r • • / Par No .1 ~ . 7. h because you need to sound the note D (previously bent C at 5th fret) immediate- ly afterwards. ~ ~ E~S • . '''' . J . .. I .r...-..-.II =. or hammer-on. • • . • iii' ~ ill .- -Ii- 1 --6~ c.." r I -r: • dy.J ~ r ~. ... . ... • ... • ..... ~~ I- .... .. +-.. ~ • • _4 sf'" r .L •t t. _..I • • Par Par r: '.. rather than pick the note B~on the 15t string. = ~ ....r "IJ 11 -:.. • • • ft ~ ~ .".... . II1II A • • v a .:._ I . 111 _...... 5th fret. 23 .. ... ~ - a need - • site to eyes...

.....• V . A V til I . I . • • I - . • .... I ~- ~1l(". ~ ------.. "" ............. FJa. IIIiiI '\1 ... _...... - l .------~-------~ •• --.. ... Gtr..--~ r eJ '"' '"' - ...-. p " . ...._ . ""'" ...". ~ I I ... . . oiIII ... . .... A.... •1 3 1/4 1(2 ~ 3 0 3 4~ j~ • j~ ~ ~ - full ~~ ...J - ~ ..... ~ "'" --.4 times • Bva -----. I- --... .._ '-1" ..._A ......... . ~ - I .. _!II til ft II -f/iI A_ .... ....J r '1. .... ..1 I I ~ ~..--... . ..... ~ ~ .. • :& - Otr...a....A. WI .. • ~ ~.-----.. . ~" .... ..: It . Rby• Fig• 1 _} .... •• ...' "" " .'....--r'\ .... - . .. . fij ..1 . w ... " " " 24 '.. 8va---------------------------------------------.. ." " ..A. ~ . I- ""' .A..l I ~ "~ Otr. ~ " -" .. ~ ttl ......--.II I .....Ir TI" .... '~' " . .3 FL '\...-. ....-J A• A.. ". . 4 - ..IIIIIl I .~ r.tJ • ttl • 11 • V fill V _.... • 8Vd-----------------------------------~--·--·----·----M-1 12 ful1------------------------------------------------.......--------------.... . 1 xc.. "...... • A.. ~ . I!!!I 4. I ~ . . ~ ~ ....t -- -- Ii. - ~ I- .-.... _.J '" ft..... • .. ftiI ._ . ~- I --. . _ TT TT lTJ11.... 1: wlRby.III.. ~ eo· -• • .. 1 """I J .... . '~" " • rtf- -"" .. I ~ ~ I- ... III"" ""' -. ~ ~ Ead Rby.. • ._ . .... Fi~ 1.Ex~3 [Track 13] Guitar Solo 1 ....--. I •• IJIJ ... A... A AA #"" ~1It11.. .. ... . -==-J~( 1......_ ~ II I- ""' • . ~ .. II FL 1\ Otr~1 7 II!Il. -t!.. r- ~ .-------... ~ .. 3 loco 8 ~ Gtt.. ~ .. I A .~~'_'~ ~ 6-"" "r... ~ ...J ..J ~ I. - . . ~ v .. _ . I .... ful] fuU hold bend " '. .: . ....

......."... ......steady glisa.. • ......- 18 k"mg ------------------------------~-----------------~----------..._. _... ~ _....... ... Fillt 18 ~ 6 3 r3 ..... 6 ...----------------~..Ill V v "• " U r# - V A fill • - A v • til - A ¥' "V ._ .. ~ - ............ - '" - . A - V ·played slightly "'behind" the beat Ott. .. •• J I r . -... .. _----- ............. . J-'" . A l .-...~ . ~ r '--- -.. J .. T • .... Fin t 22 6 fulJ -_-... "\.._ 20" ~1 '=L~D~. V •• V V • • . " .....-... "1l iJ ~ #I~ 41'" .. . V V . . _--- full .... V • ....... "- ..' ._~ ...I! 'W - .. ..... A V '\. 1: w/Rhy."J ~1 "W" .~----_i ~ ~ -----6 Otrt 1:_/JUly... w II! .. -I I - '" ._.. v ......."""" III • if " • 'ttl 4!1 WI • V - _..

. 1 It ~ ~ N..~ ~ lit ... . . :..'.....:....- ...····:~:I~··. ~ r.. - '" • .' . ~ ~ 7 .'".... ~ "" ft . .C..·· ....-: : .......Ii :... . . Rby.: .J ~ • jill .-: . ~ " .. . . .!i# ..J ..' ::~Ii... .'I - ~ .... .Gtr.'.. :t~::··::·:.. .. FiliI air.-..... t fu.. .. w A A " ... 3 24 Ok.J ~ i.II .: . I n 4. ... .

"-" ..fA IIII~ ~r l ~~~ft . ~ • . 1 a • . be sure to keep your index finger As with the first guitar. -. This should help you to perform the chord changes smoothly at a fast tempo. ~ E ~ r: I...:.S.".. ~~ ..ITE (Dressed To Kill'75) Words and Music by Paul Stanley and Gene Simmons Example 1 • Introduction The introduction to the classic Kiss tune "Rock And Roll All Nite" is actuaJly composed of two different guitar parts which mesh together to form a unique sounding riff that would be impossible to play on one guitar.I - (drums) 2 • I. r ~ ~ • £ J~ r .J Ii 3 ~ 1 ~ -r .... ....l 1 -L ~~ Ii ... 11. _W -is ~ ~ _. Controlled by PolyGram International Publishing... A I aJ . hold the E barre chord played in the previous measure and use your pinky to add the appropriate notes. ~ ~ . "- " '- !/~ ~ ..6 ·. e~ ~~ j ~ _... ~~ ]t III • ~~ -~ .... A j ..:t " • ..... 1li l u r v .A .. :: C' . ft A .. ~ Mo __ . I f' I • "'\.. • .a r:. iii I'. ~ ..!. . . you can pan your stereo's balance from side to side to better hear each of these parts separately. A. =L . keep your index finger barred across the 7th fret while your middle and ring fingers hammer-on the notes for the G chord...= • ---1'. ~. l All rights outside the U.. .J -til~ ~ :: .. performing the second guitar's part will require that you maintain some sort of barre throughout much of the example. I f •~ l 4 ~~ III ~ . ~ ~ I!: _..__ "'" " ~ I . I A B r . l ... (Gtr... .6-~ l':iIIII .- . When playing the rhythm figure in measures 6 and 8.. • j .. I~ ~ _.. Ex....J • 'J Gadd9 D • D . .... • • • 1/ . U .. !~ . In the third measure.. . J-- > Fla... 'II! " ..~ ~ . > - . t! . " I"""'"'" l J . gtr.Administered by Intersong-U. ~. Inc...) barred across the 1Oth fret on the Gadd9 and 0 chords in measures 3-4.: .. _:: - . make sure that both fingers hammer .. : •.... !t -• • A v • ~ :.. 2 in the right. _!~ ~ ~ " V " ~~ ~ • • Otr...... - - I . • II . 1 is in the left speaker.. . If this sort of technique is new to you. •r ... kt rUtI ....' ~" ... ~~ ~ .It iI ~ ..._ :~.S~A~. .l.III .. ~ lin • ~ to.. ..._ . all you'll need to do to perform this riff is move your ring and pinky fingers back and forth across the strings. • . When performing the first guitar part. • Ii I~ . ~ > r- . I. = ~ .. 1 [Track 14] Intro Moderate R~k I ~ IL J = 138 Rhy. On the recording accompanying this book.r J~ Jl' .Ii t l r :..2. .:~' ~ . • 1. International Copyright Secured All Rights Reserved . ~ • .nc.. ~ <c.. Olt.. V • Copyright 0 1975t 19n Hon Productfons Amerlca_ lnet and Cafe Americana All rights for Cafe Americana in the U~S...:> " .on their notes at the same timel Maintain the barre at the 7th fret until the slide in the next measure..... If you also keep your middle finger on the 11th fret during these measures.A - -..~ IV IIIH ~~ t• ~.. ~$r~t Jr ~. . • -_ _..~ ~ J .

.. .. 2 [Track 15] Intro 1 Ott....... .. you should have no problems here. If you've mastered the intra to "Rock And Roll All Nite" (Examp!e 1).. ..6"- t:.. !.. ~I ~ [ 11 v A t • • 1t v . '- lIJIIIII).. • • ~.Ir""" -"" ./ .. It ~ I"" " '-'I.I! . . i! ••... ..1.. ~ ..a_ ... -: : --. j .. ~ I_t' •• r .J !~ X ~ !..... •• - ~ ~ .... J I • • ..11' ktrmg---------------------------------~ • • ••• J tJ ~.. !~ "' ~ '-- . • c. "" . ...L... ~ ~ a a ~ .• . I 1\ (drums) > ~ I • .. practice the song by yourself. 'WI' E Esus4 E r0- End Rhy... however.. "1 .. 2: w/Rhy.. ~ . ".. ~ ~ .. ~ ill t ~r ..... . •• . .. FI .'- • • ! ~ • -- !.#': • -J. Ex...~ • :. test your ability to perform the riffs smoothly at a fast tempol If you have trouble keeping up with the recording.7. . -• -J I ""'0 ·V .._ . -.......R I ~ I· I ~ .. ...at. ~ .... let ring ~!i i e .__" - f _--.. A major advantage to practicing new material slowly at first is that you are more likely to hear and correct any mistakes in your playing..I c........ ! ! u ~ ~ j - .I • ... ~: .. • • . . ~ ~ I- .. A .p. ~ ~ JIIII"" I... ~.. t •• J ..a...... ~~ iii • -" " •I "".. - .-~_........ • Itt! .. U .....J ."....... 1 ~ ... .... ~ --..- E ~~ . n ..I" I 4.tl D - GIB • D A =L ._ .... as this example contains many of the same riffs.. ot.!'... . ... . ~ ••• 1. ~ .. 1 ~ ..... . a v A . ..lllt:i<%.. ~t ..l let ring ..... • . ..... .. .c..... This allows you to practice either guitar part with the rhythm section alone by panning your stereo's balance to the left speaker. .. . • • ~~ ~ • •• t ~ • • == :: :~ !.. 1.- J .. III . Bring the piece up to speed only when you feel comfortable performing the riffs at a slower tempo... II .._....s... v -I I • ..Esus4 E A -6 _~ #". VI ~~ e e : i •• A v t: :. "'-' . 1 Otr.. 1'-: . Verse and Bridge The recording of Example 2 and 3 includes the second guitar part only... .. . Fi~ 1 G/B r ~ . It will.. - --!r..15 ...-"' -.._/ -----------------------------~ 1.. .. ... ~ ~ . I"U ~ e .. leI ring ~ i ~... 4 j ••[ ~ ~ • ~~ . l! ..~.. =& . I j Example 2 • Intro. -... L. ~ Jr . I ~ • '". ._' .. 1. 1~ ~ ~ •• r J . .. ...... ._.. . . v . .....~ ~ . ~ ~ ._ ... -.. .. l r r .. "' ~... ·.I! ~~ ~ --------i "....".... ~ . !'III • ::: ~ l~ " > ~~ ~ ~ . _.. • • V .. ~ -_ . ~I ._ ~ "-........- ---. ..# II . . 1 A e ~~!i " =L .. I~V ~ ~ '\. • '" ~ .. """ "- " !f5~ ~ -........ ..

. .. ."'ry . ~r 'II .. ~ • ~ • ~ ~ US ev .. J J.------------~ ." ·: ·" ~~ • II . 2 (right clwmel) .. I e:=h ~.til .... .. Jl le.... ... Fig...... •... ....t 11 : '-"'1" J I""""""" . .-. .... 1 .Ott.. ..----i J ~ ..-.. ft ~ •• f .... j. La . ......L.. . ~ . _ t leI ring .... ¥ •r ~ l i • r . • --- ~.'" 'II .. Dsus+ kt ring --------... .... 1• ..Jt!IIIl.-. . ... You keep on dane-in' and the I""""""'" room _gets oe. . ... _.. ~ I I~ ... ._"" .. • r:.. 1st Verse 9 ~ ~ A It II Esus4 ~ ~ E ~ A E oW Esus4 E D I •• It iJ ~... .... ~ II l ....01 ...... • L ~ ~-15 • I- "" ~ +.. .. . ~ ..A 8 " FL ./ ""'\ ''-.. " •[ j .:_ -- "~ r:. ...." '..... 4 V ~r ~ ..--.. .".... - ~ ~ ~ ..• ... ..2.... • .... "l1li" !~-~~ t=S -. E n. .-" ~ ~ '-- __... .. hot. ""\ .. 1t .... . 2 > • • > > ..L~ • • • . .' .r . ... • '" ktrmg---------------------------------~ .. • ~[ . . • ':. "Fr..t V .I •• •• 'II .rill6 -..thing you've got...9 ..L'" • . ~.... V -11\ .~. J Y' ~t t .-- .... -/ r It.. ... .. = .... ..... _ we'll drive you era • Eod Rby. ~~ ....... ~[ J ~.. ~I .....H.i . "".. ... • ~ ~ 13 D E Esus4 E Gadd9 D Dsus4 D A You drive us wild.. .. V 'II" jp A.......J II I .I "- .. ~ J ~ l! • "._ " ~ j r ~ ---.. E A ~ ~ r: _. . ~ ......5-. ...... .Ii ..... ~ .tS_. ... IU .. u .. • t oj • ..-.r r '..t~ - .~~e !: ..."Fr.. ~. _. I ~.Flg.. I ~ t .... r . ~ -. •• I......... I 4 II' I.--"--I ...... S .... ..--.. 1 •• ~ U • ~ ~ •• -...."" . eI .. • r. • . ~ ~ ~ _II. . ...... .... .... ~ • ~t •." j ~ A "'" =#~-iS-.~ " • I ""1iiII' • ~:: ~r J r~ t ~ ~ ~tit 1t .."FrI I I 16.... ~~ IL r ... .. ...~ • • ~ -. ..I L' . J~ ir • • .. •• IfIt' II ... . • ~ .. ~.. • ~~ A .. -" .. r.....U I II... A.. .. . . ~ ~ -- ... ...... ~ • • J....l You show -6 ""._1 .. -:... ~ r U . .. I !~ ..... IP'" Rb1... . -I... --------------. . p.... • -~ lJ . ~' ~ •~ -. V ··.. 4.'!II . V . J '. :~ ~ .

.'" I..__. l' t t .... j ~ _.~ . ~ '- ~ ] lID ~ ~ .~ . IV • I ! -. r .J ~ II . Hl jjlll •• " ~.l J D • .. t II ~ "~ l1li . • .......6.... let ring . u -'_I ~ • 4 ". .: ..~"'. . ~r ...l..._ ~'-. '. ~ ill Ou. ..-........... t l.. ~ ~ .- ..-...__.t " A ...... 'ac III III ~~ •• ~l ~'" j r" :ft....... • • u A r ..". .... t go for a spm. ...._ '~ ..n. The par-ty's just be-gun.. .2 It ~ ~ t :... JT ..Ott . 2 17 t ...: '1 <l1li:'.... keep on shout . you Olr..I -~ i ..... J#i !5.::: . t '" La.. Il... ..- 1t ...~ '-~ -.-----i .. :-: IU ~ 4ft l: ~I "I . IV ... I . ."...... l Jll" ~r . 4'" II" Otr. I........ ...." ....1 .....~ r -~ ~ """'- ..~ " _I ..L . ..a 1/1 lA J ........ ~ =t~ 1\ ~ I .. II1II1 . .. ~I ..:: IV 4A IV ~ 'l 'II ~.".. . ~ ::... 1 ~ iliA V 'V' .. . l E .. ~ let you • In.A " . .l t ~r • ~ ...... ..... 1 I • ~t r 4I • ...-. PI'" t... L-... • •• \.. ' I IV . 1 D I I .1. .. n 1 r ~ 4..' -.. '. IV J! ~ .... ...... It_..._" ~ -III . 11- . 1: wJRhyt Fig...l .... let ring --. J: ." A ..c.:L ~... J - I .. . ""- ..""" . . • f# ill .... ~ s ~ tr Esus4 .. E .t "- .. 1 t • ..... ~r . III ..- -.. - ....... La ..... 1 ~ ~ ~- .-- we'll drive you era - zy....... ~~ !~ ~...... -.. I I :..~ ~ tJIIIII"'" in'.___. • .. J . . • 1"1 IV IV .. ... j ... j .:' V V •A ~ .. 1 E ~ . - - I- _. - '..IIi -........ ....- - ."I ~ - ~~ II . "'~ • c............."...1 . -I I In J. . . ..'" . li- . Dsus+ D E Esus4 Gadd9 Otr........J .V __. ..-.::. _I' -"" oJ -'- -.. .... ~'" .'i. .. W I .. __."" ~~ W I "r r ~ You keep on shout .in'. .. a ..J I. . 111 ~~ _ .. 4 4 fl ~ ~ j ~~ I ~ ~~ 4~ 4f:l IV IV :~ .... E •• . t....- - -... II1II4 .2 You say you wan-na .... ~ ... I ~~~ - . • . _Ij ~ • • • - ~ '"'" t-J:: #'. V • V n .. JJ D F r • • - You drive us wild.. I ~ :.. ~ Ii rr ~ .:' u 4i~ 'III 4111 . •J • J"~~ .:: IV II .p ~ - .- : ft ~~ • v A ... _. ~ . I: ._. .... _ . "\... -'--.. o ~ ~ ~ 06 G I 06 G ~ A . ._..... ..... v Bridge 2S p6 ~ il F . • ._ • III ': -..~ ~ .. IV V ..~ ~ "'" J..... "' •t •• g . I .....V .... '... .. ~ E ~ Bsus+ Ei I r--- ~-..ft IV ~=.: IV 4~ ... we'll ~ ~ " ..J 1 ........ III t"".... ..Jf/I ...... eft II ·nV' V 4" V I: 4ft IV JX r -~ ..... .• - j~$I..".. . ~ 11 ~ . II I. ~J'::y .... - .

..J ... ~ P"""'"" ---- .. ...... . ... 3 (Track 16] Chorus A A. ---. r._ ~ ..A J. • .. • ."...ty ev.III -... I -m I . . It.. 4 ... .... _~_ ~ ... ~ ... ~~ .2 =L~ ..z ." :... ~ .....( ..." '!II 11 trr.. """"" ~:-:~ .- .. . aggressive attitude... ~~ i• • II. and par... 'J ~ Otr.." use constant downstrokes to reproduce the guitars' heavy.J ~ I '- ..r: . . ~ ..... ~ ~ f..1 ~ Ii II- ~~ ~ -r ---r . ~ ... A ~ J ~ ~ : . ~ ~ /4:· .r ~ ~ ~ ~ ~ "" . - ~ ~ . r ..../" .. - .-• J. Ex..... .J'"r • j ~ ..:' .. : it! ...... all RIte .. ./ 4 _ft I IiiiiI • V til V .. \r. ~ J~ ... - "'\. r I r . • • -...o" " • • ...... but would make many of the guitar parts in "Rock And Roll All Nite" more difficult to play. ~ I Otr~1 rock and roll. -.. - D .. -~ • ~ I .. ~ ::=:::-15 .J Dsus+ D E Esus4 E J Esus+ E br~ ~ '~ II.... ... -J A -• B _.. .. L ...." . ..!.. :~ ·r ..... ~ - ~ • "I~e . . I . f ~ r """'\ ..... '- -a _# ~~. r ~ j . "'- .J .. L.. ... f p...Example 3 • Chorus When performing the chorus section of "Rock And Roll All Nite.I ~ . ~ • 1 " .lI._ • . ~ t... l. ....' "}! _..~~.. Alternate strumming not only sounds weaker when compared to the meaty downstroke attack. _. •• .. . I~ . J .J :-r ~ ..~ .. : .na " I . ... . ~r •• !-' . • -.. -:e~ ~ ~ ~ ~ : .. . . .. • :......_ ~ • .. iJ .......-. ill u ~ iii' . ..I let ring ---...:z:: -I III ~ . • ~.l • :~ j ~t ..- •• ~ ~. ._ ~ .i . .......:. .I --- .. IL A J ... .........A.Jr"#" . : ~ ~ ~ ~'" ""~ ~ ~t 4' J ... 'iI' A ~ ..LiII l- .._ ~..... J ~ •• 1ft .I ¢""~"-= .... "...- wan ... .../ . • ~ ~ x ~ . ~..cr-y day... :• • •l j . . • t ~t . ~ ~ ::.:. V ~ ~.

.

tap a slow 4 count with your foot and use your hand to tap three even attacks for every beat your foot counts. When playing either of the guitar parts in the introduction. Kiss create a huge -Wall of guitar" sound which sets a powerful mood for the song. To get a feel for this rhythm.. while the second 8th note is actually the third note of the triplet. By orchestrating as many as five different guitars at one time. .(J1 after the tempo marking. When you get to measure 9. )( 0 AS x AS xo ~~ t)'Pe2 xx xx B x •n ~ • ~ 4t 11 111 r ~t 1- 1I4 x t . be sure to perform the 8th-note rhythms in the example with a triplet feel. n#5 xx 6 fr. However. When playing 8th notes with a triplet feel. begin the introduction with guitar 1. =J» • If you are the sole guitarist in your band or just want to jam through the song by yourself. x • ~ 4&.~ 13 3 133 . as indicated in the transcription by .) A triplet is the rhythm of three notes played in the space of one beat.(Destroyer DETR IT R '76) Words and Music by Paul Stanley and Bob Ezrln Example 1 • Introduction "Detroit Rock City" is one ot the few Kiss songs that features an extravagant arrangement of multiple guitar parts. ~ ~ n ~ •h 133 ~ ~ r. switch to the second guitar part. even Kiss themselves don't have enough guitarists to recreate the exact studio recording livel Therefore. F-S xx 9 fr. (These types of rhythms may also be referred to as shuffle style or swing 8ths. The best way to learn this feel is to study and play along with the recording for Example 1. for performance's sake I have omitted the least audible guitar parts and arranged the transcription for "Detroit Rock City" to accommodate a two-guitarist band. the first 8th note of a beat is equal to the first two notes of a triplet. This change in harmony will help to liven up a single guitar performance.

. . . A 4 =L~ A. A ..... ControUad by PolyGram International Pubtlshing...._ I - I"' --r .. .. ~ ..... _. • lilt. - B II W J .II 1M .II •t 1Iff --.... . . 2 not audible on recording Copyright C 1976 by Hort Produedona Amarica... .. II1II .. .. . "" - - ..- .. "- I\_J J .!1 :.~ ~ . .... I cresc... 'iii ... a .. _''is:• ~ ..~ ... .... AJI By MyaaIf Music and Cafe Americana All rightI tor cata 1he U............._ A A .. • J [ I I ..... .Ex. 3 • ... ~ 3 •-~ -'-..S..- ......... Otr.. I A -ft ... Ok... ":--~II ::-l~: i.J'_ " • ~ iii iii • . v ~ . • ._ . ...• ... U • . .. . . : ..... Inc~ _In International Copyright Secured All Rights Reserved .. .. 1 1 mf • A ~- cresc.. _.II1C... I I 1 ~ • ". I T .. ..... . V . .... . . .. ... ff . . AU rights outside the U..J. Inc. A • . . ff •• II.S. A • implied tonality FL' .6. • . .... ~ .._ .. .lffi" ": ' ! .. "" ... . • A . & A _. ~ . .. 1 [frack 17] Intro Fast Rock 1 ~ J = 184 (Jj = J ) rJ... -~ ~ ~ ... 1 '\... ~ . Administered by Intersong-U. - . . _ft ~ ..2 6 ..8 If • "v 11' -Otr.III •1 -. ~ -/-- ~ '0- .... ... ...S..a ... _A ... ~ ¥ A •• . .A. ....A - ~l ~.....

. ... ....... ~ -i .. 2 rc-enten audio example ·Gtra 2 DOl audible on recording ... ..... . V .... ~D" "'- _..-. v v v v -V " =~ V • A ~ ~ ~ 4~ II ~ •• ~ 3 3 •...-..... ..... _...J _......I: .- 'U ' Example 2 • 1sl Verse and Chorus In the verse sections of "Detroit Rock City.1 ... v •• .. ~ . V .... ~ ~ ..~~"J ...II .. . #1 U' . However.. V ...... Il._ • """" ~ . V . • • • .. v • -Gtr. ~ }IIII • • .. -: ~ :I A _..~ /-61~. guitar 1 is heard in the right speaker... X ._ V ._ '-'o~ •........ ~/ <.... In the recording. u .--" .... ~ "III. ~-- __.. a .. ~ ~ "'->C£ ~ ..-- -~ .. ..." Ace and Paul hold on to simple barre chords allowing the rhythm section and vocals to carry the tune....V ...V • V _..._.. J ....l1lI ~ .." .. ..... beginning with the pickup into the chorus... V I! . (fret noise) iii'" '- = rv . . .. 'oJ I~ • ......a • v . J61AJ • ..I . . H .. ... 35 " .... -~ . ... ....." II ~ _....._~ ~... _...~+. . .. . .V V . '" ..- ... • • . .... 3 """"'" 1 I I r "'" 1Iff V 3 _~ =""_........ .. ".i~ ~ AI V . • _.... . J I ~ ~ I ... L ~r ~ .. V It .. • eJ IJ . -.......j V • "" ~ ~ II ~ II '\i.t .~~... ~ _.. . ..... "-of . __.. CJ r /' . while guitar 2 is on the left..... ~ f-"' ~-""" 'l .. _..... • . • v ~ . ... .~-~ . ~. .....~ ---. " . .... • .......... This arrangement is to benefit those of you in a single guitar situation...:' .... ~ . V .... 'U ff . • •u•v . . "'--' J" 'U . . .. "- _/' .... ._. v :: :: v I~ 13 ~ It v ~ ~ 1 ~ II ........ ff • V --- -..... as the first guitar part is probably the best one to use in reproducing the original feel heard on the album.!..._........ __J """" '- B . r~ ~ ... . ~ """'-"""" ". ~ J U ~ .- vocal: . at the end of measure 16. •J '........./' (I) A . ~ ~ ~ ..J eJ -~-../ ...... ... • _.. • .t~ . -«51" f:iIII ~ -.... 1 J I I _._ ~: mf • v cresc. • w ... to lead the song into the powerful chorus section.. lit 'WI cresc. ..a a iii ... .. ~ ... • V' . It V ...__ 0 ~ ~o-~ __....~' "'... ~ ~ J ... ~ a· x... .....I'11III.. ..~ ... ..... ... ~ I 1 ....

Ex... ..../ ---~ 1" ...J • "'- ._.l~2 up ~. _".........I - "" ..~.......... ..L.... . . ~ __/ ~... . . ~ ~ ~ r"IIt~ . • r 36 ..... ~ ~ ....... A IS .. . ~ \it FA. .. Cit -.. -. .. .__" ~ -/ 'II1II'" -• It ~ . " j~ ~ . r .- ~~""" --.~.. the on " =L ~ • ~ I. .... ~ ~ • I ! ~ ~ iii ~ ~ .... . . -...~ ...i • . .._........ ~ ~ ~ ~ -. 15 ~ .. - tight ~ on a ~ Sat ..... I . til I ......t ". _ll 11 I I I . ~ I ..."...J ""-""""'ft-.... : ~ ~ ~ ." ~ .. nine 0.- <. •t -.. ~ ~ ... -... It Ii ~ j .... "..c.. ..... .... . .di I-OS .. B 5 . . ". ~ "'II~ "".._ FL '\! IJ A _. "" I I - ~ j " .. ~r JE ~ "'-l1lI .I ._ 1 ~ ft " L WI f 1 .. t -0- "- '-. J ........... ~ _. ~ . tr~ t' """"""" .-:: me through. I _l_ "" I .. ......~ _.:.-... »: '- . ~ ~ ~ ....-...."" 0 ...._ ~ ~.-." j .... ~..... • " • • .. ~ ~ .... ... ~ ~ "" .. .. ~ ....... ~ '...'-.~ ~ ~ ......_ "'"* ~ . /_' .c..~ ~ ~ ~ ~ ~ "- .. .... .... <.~ ... ~j E5 " J ~ • •~ I""""".# tJ' Ii ~........ the ra. .. ~~~t~ ... _/ _.. ~j j '" ......I At T .ur . III ~ • . ~ I ~ 'U ... ~.... - - (I) feel Otra..fJ-.. l j[ \~j ... "'""'" ~ _" ".... J I :pr I t. .. ~ .... ! ~~ II . ~ __".. f " J ".- <. _4'. --r :II ~ •1 . c ." . """"T •• ...~ .__ ....- . r """ . ~ ~ ~.c. 2 [Track 18] 1st Vene . day night... _....._ ~ ~ ~ 3:.. ~......... .... ~ ~ ... ... ft- • .....It • -.." ... • ~-r.. E ~ .~ . •.".... .. J ""'I ..... • • .ly Iight...J .. ..L .. (fret noise) .. ...- clock.... L !~ ~~ J ~ ~ I ~. ~ . ~ ~ r-... • • • • -. "..t ~ .. ...... - -- hear my ~ ~ ~ ~ song ~ and it pulls . \"1 IIIIIJ ~ . ..... III" ..... "'" V ~ ... ~ "...... ~ j ~ .... ~ ~ ....

j '" I . . - - .na ' Rhy..... ... . .y's gon ..na leave their seat......... .I r GII'... to • I comes on 11 • ~ strong..... -• r: . I11III...." 1 11 11 11 I I A I ... - ~ _~ / - III "" •.. 0...~ .. . 'r v at ..._ ~ r ~~ ...bod . .......B F~ open ® E AS 13 It ~ .y's gon .I .._ - ..... ..-..2 n. p.....r ~ "- • r.. . ~ CollI r • ...r r . ~ • . ...~~ v Ev . __.. ~ _J ..-to do. . Chorus 17 ~ Ii '-.. ~' Ioc ~ ~ ~ ~ I r.... ~ ~ ~l V A .) ..-:: ~' aJ .' " ._ '-"~~ ~ --.. _.. ---~~~ ~ . 'V 37 .. a....... ~..~ . II F . v . 'Ill " ....'ry...ry-bod ....~ iii :"-... Flaa 1 Ott.. 1 ~lJ move their feet. .. • .. ~ •• . J 1* J -- ~ J ..t • • j Jr: i'" . .J .. .. ......I " • • I ~ II ~ r • ~ • 1. ~ ft " ~.. - ~... 1 ...\ ..J -~ .. j" .. f!: J ...... - '""' ..' ... i ..- _'II I ~ . ~.IIIIft_ • ..~ . ~. get down 1__ Bv ...... ~ tells me what I got I got set Ou..~~* ~ B . . It '" .... ~ i p. I •~ ~ »: ""'- 1IIIIIIII _ " ...1 up! ~ ..... ~~. . . .. ~ T 'I' '~ . [t t ....

_ ..... l1li.. ~~ • ~ • l' • ... . ..----------------------------------------------~--------------------------~-.. . It !: UJ ... .__ II..-------------..... =& '-~ J .. .-..n. .. I . ... Cl ... . . f"..na move their feet.'___' • . up. r:a ....: II I .. . III' I IJ ~ .Try ... .. .. . I\. • I A AI . -• . - l1li • +'-J .. ~~ I rock -.t ~ N.-. [ Ev ... t . Before you try playing along with the recordlnq.KI "'" ~_ ..... start out slowly.. jj ~ ~ l' . y's gon .. Ii _j ~ ~ • - ...Eii. ~~ j 'If ~ V " ~t .. .~ 'I V I I • ~ ~ ~ ~ ! -: . - • II' t~ ca ... . Alternate picking simply means to switch between down and up pick attacks (down..L_ -~ ~ J' I ~~ ~ *doubled Bv.. 0 "'- __.. • l • ... ~ .~pr . A ~ .. .... 4t ~ ... • .. If you experience any trouble when performing these licks up to speed. v =& .. - ~o. Get up! - r ". etc.. • • V • :I l' ..ta lose your mind De - trou ... beginning with a down pick on the first triplet...n '" j' l' • 'I . ..I ........ I " :I .10 t .. " ~ • ...- ~ . ~ EadRhy. • ..)........ ft ~ • • .. . I _...1 " _I -.. ~ . If alternate picking is a relatively new technique to you.. ~ . .try ..... • ~ • . ..... practice this one measure over and over until your right hand feels comfortable with the lick... • - .n .on ~ ~ _... . This is often employed by guitarists when clean.... 1 ~ ~ " • .. ..' J • .J . . .. precise rhythms are required.• .~ ~ ---.!1o ~ • •.... . Get down! II""""'"" Ev ._.. down..Jr f! 1 I .... .. "II......1. P' 4• .. .---.. .. .y's gan· na leave their seat~_ ~ ce.. ... l' ~ --v . • ~ .. ~r . .lit._ ~ :pi I fit - ._ I r-- A "--'" You got .jI"- ..... .. ...bod . ~.... • ...:~ ~ . •• .... _j ~I" ''' •"" . ..---... •t _ft_ . ~ • ~ II' j• .. . ~ iii _. ..." t· ~ ~ • - ..' . Here..Interlude Perhaps the most challenging part to playing the interlude to "Detroit Rock City" lies in the second half of measure 8...... on album (AS C)'pIl) 25 ~ "'\. .. ..... -. such as in measure 8 of this example. 1 ~ ... I " ~ r-.... 1II..bod ....... up. ~ II . ....._..- r.. . ......~. ~ . ...IIII ~ v ~ 4.. -I .... fill • ._... I " . .- ..... 38 I: ....._ . .~ ~ +'-' ~ .J ~ -- .. -.. ~ ". .C.. ~ . all the guitars need to play their triplets perfectly in synch in order for the lick to sound tight.... ~ .. • .....& Example 3 .....t.. I .. ty..21 ~ _'\: J .".. .~:. .. -......... -~ j ~ ... ~ I I 1 ....F"1 • • • •" ~.. ..... ....J .- "- -. 1. . ~CJ ~ ~ I~. try practicing them using alternate picking......... ...

J ..... :~-. ._. • .... J III . 7 ~---~ .. ... l II I Jr 'J---I ~ 5(.. lit v ... . .. 11 3 ~ t-L .. u .. • v ... ..... 'I 'I 5 IJ.. . ~ • I ~ ~JaI I ....J 11 • I II....... .... D~5 • .. . n 'f1 EL '\. I .. ... 12 Ii t j. ~ '-- I . • V • • -. .. J ~ 15 Ii . ... ~ ~ ._a -is - - II- ~ ~ ~~... .. -v -...- . I.. • • .1 uJ - -.. ~ r ... D U . .- . ~ u ~ U .. I _. .. .. .... 3 ~ - .. "'"WI J ~ """IIIIt". . . v - • rtr s lII. .. • • v ... • v .. ~ • • v v .v A ... . V ft • • -• .... •• • ·Gtr.~ .. . ......fIll 0 A U ....3j' I.....l dOWIS'• • H • • ~ .lI ~ ~ j .... ---. . v ...... I ..V - ............. V - - - .. I ~ -~ . I V .& . ..... A It iiiJ A .8 . v v ...... ......' ~ t\ . '" .. lUI ... . ~ ..-.. V A v • v F • ~ _.. v U . ...../ . .I --... . _...... ~.... V .... ~ . .J 'III! ~p II • • V A . I 1 • I. IIr- ""~ ......--. . ... 1 ~ ~ • Gir.... ~ -- -. 0 '-' • • ~ . ..... . ..... . ... I • ~ . ...i_ .. ...- ~ .. - --• ... ... . ~ -r - Gtt./ ............A... ..~ ~.. AS B -J. lII...l "... . Ott. '\.. ~ ~ .. --.... V ~ ..... ....... • v • ... 1.. V V 1if ...... F~S . -._ J ~ . A 3 .. .. v g &. .- Gtr.. il ~ I- -. 1~ •J .. ". ~ a a • . ~~ . ~ ~ J w "- ~r V v 1 .. .... -.a V ._. .......~ . . ..... " J. N6CA (C~m ) ~ . ...~ iJ u' ~ r-\ _. I I~ 9 V V '.......""'- ~ DA ?.... .. v -not 011 recording - A V . • _. • -. .--~u.- v ... .. ..._... ......... V ... aJ 1 '" _r ~ ..~ ~-- __/~ • ..... .Ex.... . eI -... .".... • A ~ a . • -.. If _A . .. . V ~" .-~ . .... ... .... U v • --.... . .... ¥ -. ... ..~ II.. ~r r r .. r .. -. A ...... .....3 ffrack 19] Interlude 1 F&' '"• . - ........ • •• 3·9 . . ~ ..... • V ..... - - ..•t . I~ ~ &I . ....

of Example 4......' ..... ... . ·.'...-..... they pose a unique chal- lenge for the beginning guitarist...... .. . ... resulting in a much smoother sounding lickl Proceed through the rest of Example 4.. .. a-... r J 1* 3 j ..:.II II 1 --.. you may need to stop and work out some predetermined fingerings for the licks. right? Wrongllf you proceed this way..... v ...-.. After playing the first four notes in measures 4 and 7 5...... . AI ~ ...... -- ~ ~ .' 40 ... .' .. ~ ..Guitar Solo In the solo for "Detroit Rock City.. ~ ~-.... check out measures 4. ...# 3 I .. . " " .. • .. - """'_--'i . .. For example.. --.. .... .. This "thinking ahead" approach to guitar playing is well worth exploring as it may come in handy in working out other guitar solos or even in composing your own fretboard extravaganzasl Ex. -~ -£ .- -- .......- • I • L.._ v . . ttr. .... .--..... ...Example 4 . ... I . While all these slides create a more interesting guitar solo.." . ~ ~ L 3 J L 3 I . 1 · '... Afterwards.t J j • II a- ...... .4 g .. 00 album 8 ~ ~ It . . -.." Ace Frehley and Paul Stanley give their licks a smooth.' ::'.. --~ --- . - a ... ... . .' '.. • " r . ~ . ~&J J '- - Z '- -- :::!!I...... In measure 10. you'li probably find that your middle finger will be all set to perform the first slide in measure 6.I ..~ b "WI " -""- ~ ...J t S J - ........ you may need to run through the solo slowly a few times by yourself in order to get used to the new and sometimes strange fingering positions.... • .. you'll leave yourself no choice but to use the weaker pinky finger on almost half of the notes in this lick. ... .. Begin the slide with your ring finger instead.:.. "' l *-"II1II... ---- .. you may be tempted to begin the slide from the note C~ (6th fret) to the note B (4th fret) with your index finger.. However.. . as this will set up your index finger to effortlessly play the note A...... . .C.. had you started this slide with your index finger..:..1 ~ 1 • -Gtr• 3 3 I N.~ .. ~ ... If when playing these licks you feel a slight desperation as you try to keep up with the recording.. . .. glassy feel by employing lots of slides in between notes..- S &_......8. .. you'll soon find that you've forced your index finger into making a quick and most likely clumsy jump down to the note A (2nd fret). similarly working out fingerings which allow you to most comfortably play the licks. . . ·doubled 8v.. • .... ..... 4 [Track 20] Guitar Solo ~ " FL . you would have set yourself up to more comfortably play the rest of the lick. However... """ • -. 11 ~ .. -.. I~ -'-' .. · . V ~ """ ~ .... ....... ~ ~ ".. ... ·...

A • . i ...I •• ....J L-3.. v -..i '7 L PJ ... ... ... ft . . v 'D .. 'V ..12 Otr. .. ... - .. 20" ~ oIrs 4> 1 & 2 ---~ ~ ~ • ill iii' . ...) I ~ .-tJ ~~ - . _.... .... - ~~ . ~ • .._... ... ... .... ... JIIi~ • -. -"'""" 3 I L ~ ~ . .. a v a . on album • --. 41 ...: r¥ ~ ~ 3 3 - .. " _. r -. -~ l a J .. ~ ~ ~ ~ -. -..... r..... .......... r 3 J --....."........3.~ ~_ ~ :..... -... 3 . . .." ~ _..J . ..- --.... 'ttl • ~ .-. ~ ........ ~ ~ I&~ . ~3~ '--3---... • ~ -.. '.- ~ ~. ...I# J L.3 __...... • .. .:::J~ -L 'II:~ "'i7 3 J .../ V -..... -- ill' """Ii--. . . .. .. ·Gu~4 Ii • ~ ...... ~ ~ f""I'Io ~.- iii ... . .....jI .. JA "'" v Ii }I ~ ~ • • .. -'v --....~ \.. . '" 11 . ~ ~ a I "'~ - ~ _M".. K ... ""'- """f - . -"""'6- .. ..... ........ . v ~ .. ~ . I r 'r I ......4' ~ .. .-" .... _ _jiiIJ ~ . h... --.* 3 J L -'- ~* 3 t ......- I . v ..... ~ A ~ &.. • . " ~ ~v a • U 18 ~' ~ It..... -v ~ • "ill' v. • y . -... • • ... ..... I •• I I ~ I 't:.. • ... EJ ~ -.~... ..... -.. A .... . "PI" • ~ ~ - - . A ..J L 3 • ~ _J L S -. ""' . ..J ---+ .._ ~ . ... 1 I I I . ~ v ~ III.• .J .... I II ~ . II I. - ..... r - " " .. v . .. --I T --.A . I . '-- .. ~ ~ .._ ~' ~ .. ...... u .. r I .' .. I ~ III ~ • ~ . ~ .. A_""...~ I . • . L eJ ... ft - A'-.. J ... ............ ~ ..~ . 7' .:. !III'" -.J .3 A Ii IL --I "'~J ........ -- .... R".. _J L 3 - I I - ~ I I f .............. I ~ J . 'V V • V • " JI V •• V .. .. -" . ... ....~ ~~ T" .. I - JiJIIIIIII.. u ""' • A ~' ..... r a.. ...." "..... "" I ... L ~ '" ~ --.A • -doubled 8y.. ........v ~ ~A _ tiJ ~ . V - s: ~ ~ "" ...- ~ __. ~ ~ -'~ .... -... 'II' • v --_..-.. / ..._ 'V A ...L " ~ .........g. - ... --. at ..:............ft ~ ....-..... f A • ......... I I~ I • • • IJ " I -.J '. ~ r s ---..--. I. '~ II ......... v ....

J . .A .. ~ _~ I . .. . .- ... ......~ It._ " I --... ...: J ~ • • ..._ 7~ ~ "..... . .. ~ ~ ~ ~ • J ._ ~ . I .- ~ &J --... ......~ LS. _"...... ... . ~ I . I ..~ 3 J . 1'\ . D '" . a ... ~ •A I&. ....- ~ ~ .. .. I I ....' .. It I • ~ ...- ~ ....' ... 1 &.• • ....--.-...s--J L-3--J L-9_J 'ttl ..... e) J 4" . ...: .........._ I ft~1l .'f " / ~ ft "---~ ~ .'\..." III... . .. ft v 1ft - ... . • • -. . ~ ...~ .. _......- . " -- f I got-ta rock....~ ~ ...... 2 30 . . .. Twelve ~ ~ II o'-clock.. • ...... . . ~~ ~. ... ~ _". • -- • • rr_J. ~.. ... .. • • .. 1t iI.. oII!'A • ~ _.ft.. ~ . . '.... fI . ~ ... "I. I ..1'\ - ... - A - 4ft a ...... V r--- ..... .... ..J I_ . ..-- ~ - L.. l_S--J ~ _..." • .... 1~ U ... ~ ." .. A\" • .... . ...... ..... u It ~ '-..... . '" .IIIII _....\_ -- .......I 1 J -- 1L ~ ~ J ~ .... .....A.. ~ . 'J ...2611 ~ N..JL 3 . .. _ .. .. A\.. ~ IV • ...1 L3........ ~ 1 •~ J . .... ...... • -----. ~ .. b'!l..- . . ........C... ~ l_S-J l-a_.. v ..~ aJ J • ~IJi 9. .." ~ ...- L . u A~ ... u '& I' • "'v A u . A • Om... ... ---- .. ~ '- . I ~ .._ • v ft A .I ...._ ... u 42 ..I ... -JI ~._~ . .. ... A 1£ IV •A I.... . . . _.. a 3 -- ...... " : . I_ . ~ ~ ..... . e '" .. ~ _ ..A .....e..... .. I r. • " fIl. ~ 'III ~ .. .. _....J ~ I tf~ • r rr... ~ .... _.. I .... .. ~ . --~ . • I .. .

(You need to consciously or unconsciously listen to the other player like this in order to best "lock into" each others' rhythms. say.• cafe Americana and AU By MyseH Music All rights for cafe Americana in the UtS.-~----------~-----------. Administered by Intersong-UtStA. tight harmony guitar linel) In other words. . 4 for "Deuce"). J ntemationaJ Copyright Secured AJI Rights Reserved 43 .---------------------------~ .(Destroyer . Doing so creates a nice. Ex. your ear is also picking up on the other player's whole step bend. Inc. but you have to do so while listening to the other guitarist bend his note a different intervallic distance. All rights outside the UtSt Controlled by PolyGram International Publishing. The best way to prepare for performing Example 1 with another player is to practice performing the 1/2 and whole step bends ahead of time (see Ex.'76) UTIT UTL Words and Music by Paul Stanley. the note D# (11th fret) up a half step. Inc. 2 divis./ 112 J 1/2 1/2 Copyright C 1976 by Hon Productions America. Gene Simmons and Bob Ezrin Example 1 • Introduction and 1st Verse While the notes and rhythms in the introduction to "Shout It Out Loud" should be fairly easy to follow. you can rely more on your fingers' experience to perform the bends correctly than if you just used your ears alone. Not only do you have to concentrate on the proper distance to bend your own string. This way. performing the bent notes in measures 2 and 6 in perfect harmony with another guitarist may prove a little more challenging. Inc ./ 112 J 1/2 1/2 (Gtr.l = 135 mf Ott. 1 [Track 21] Intro Moderate Rock ~ 1 Gtr. 1 w/aligbt fdblL) BMI-------------------------------------------------------~-. while you're trying to bend. making the intonation (proper pitch) of your note a little harder to hear then usual.-----------.

..... Ii. n- j~ •J ~~ !... ~ ." These riffs are performed in the same manner.. .ill ~~ ~~ = • e iil Jit ~: J...-....._-tr~--t--"_ . ..~=-~ ~~----------~~~~ ~~~~-----------~~~ ~~~&~~~~~~~-============= ..-~... ...t .. Do you to be re • mind -is :... r:..1 ~ 1 _. L •• u •• • III_ fl.........----::i 1 B ... T6 Example 2 . .-:::~ ~ r it? Think __ you're gOD . ~ ~ ...~ ~.. ~ ~ J ... ....____ ..J . r r . • -some OS 1f/f.. --~----_~ ~ I ..:...self like ""' ..-:.. /" """ . . .... t~~~--. '...._.. . .... ..-:.1 ill ._".T ....# I • • &i ..... -is _ ~ II"" ~ ... 1# I ... ".. I -:...... ~ ~............ ~ .. A .."... . ++--_- .. " 11J 11 I 1f: I . __~...... ~.. . n t ..' ..._....t -. .--... ....... loco _... ~~~~~=:~~~~~~ '£' ~=~:....--- __ ___..----_iIIIIIIIIIIIIII_--.._-----4~-u. ~ i"""" _...-/' ~.'}. . ~ U ~h ~~. U I ·1 II J.. ~ ...... . ~ ~ - ed? Need to be 'r ~ ~ re ..... . "" ... #' .-_~ ~.. "" ~ ~ j ~ "I~ '-" -r'" ~ . A ~ ........ i . ... ~ " ~ ill I ~~ .. ..... ~ D~' _..... • ill • • I j • ~ • ~ -~ I - . .----.. think - t " . nil • ~I ... ~~~: . ~ __.---+----+---+-.... • 14 =L ~ ~ It ~ I ~ ... na find ott? 1.. ..Bridge and Chorus Many of guitar 1'8 chords in Example 2 closeJy resemble those found in guitar 2's part in the intro to MRock And Roll All Night. I l '" I ~ .J ....... ~ • "- ..... .. . . )r r A '-.. " """ ....... --- fit .. ~ . ~ ~~ T ~ ~iiI... .. '."... " ~~ ~ T .-:. ~ 1t~ .*'._ - You've got to treat your . ..na find ..... 11. : ~ ... simply barre your index finger across the 4th fret for the first chord.. ~ ~ When the night's be Gtrs.._. . _ you're gon ..""---.... ."____.....Ist Verse 8 ~ B A ~1 i~ • .. ~ - \ ~ I.. ..-... ... For review.. .. _lft\.J "r . ~..' •• J \ ~ liII .. ""' . .._....... ........ ~~ . !:T. ~ .__ . ~ -.. _ ~~_-----: ..... .... .. ed? ~' "\. I ~....... ..__--... I I - # at need ~ ft ....-. __ . __---...+--...IIIIIIIl • ~ ./ -tS~ - U ~~.l&2 ~' - gUD_ and you want fun. r==~~~=~+---:--:... J.... one.... do you ...I It I Dum-ber 1\. Ii J -....-:. 1ft J 1 II .__ _ ... · z ~.. = )' l' •• ...mind ..-:..... •• ~.0f41t~-:r4..._ "'-"" _.F----..~ -.... 44 . av.... to play the first two chords of the chorus (at measure 10). ... .....ir fill .....~ . I A r-11_. ~ ..r_... JI' It ... I ~.-~. ._~~......... ..... r ~ ~.F ..... ........ .

...L • ~ -r . l t . . ..J ...I " -._ 16I _..--.. p " A V J~ •• ~" ~ II_ ~• t... ...._ -....t -- A... 2 [Track 22] BridIe ~... all without lifting the index finger's barre off the 4th fretl Again. AlE D G/B D G/B D A '-~ LI We can't do it an - y oth .. . .- " .. . ~ ..ft • II .. III ~" -lit •• I' A • .. ' j .._ ~ wI'\/\.1 1\ ~ ~ It does.. 1. i V ... • .. .... &. .. ft ~ V 1. . _.. • -...er Ev . 'IIii' ... _. ~ ...". ~ • r 'Ii. A ~ ~ E J r: Dy. ::_ ~ ~ &. add your middle finger on the note E (5th fret) and your ring finger on the note G# (6th fret) notes to complete the next chord. F1g..../\/ • J. ....- Rby.'ry-bod- - I let ring .. ~ ~ ...... f I • '_. 4.. ::! U " _.. • : ~ " .I 1 :II( ...J • -r _II ~ .. v V ~ "\. ~ V t V A • "l ... . FJc.A.I I ~ ~ L': .. --- r~ II' : \' 'J .~ -. ..1A .". [ - D 11 I It1 _._ -• ..J .. 1IiI V \J -V .. ......- V - jl ~ .. • t :.. ~ r l .._ .r _.. ~ . J' III •• J• ~ ti 4Il ~ " JIIIIL U -!: v ~: -" : 6.._ . ~.ter what you do or say...B. Just for .. 1 A » D • t l G/B ~ D G/B ~ _I_ • • .. . ~ • l ...: ~..I . ~r -. ~~ • . _. ... •..get . ._ r- .an ... • ~~ - ..p ~ .... . most of guitar 1's chords in this example can be performed this way.. - - the things that you've been c.... n I --... G/B D If v: J .... Then. ~... .._ '-. H' A . = ~ II .: It ~ •I •• ~~... . II I . Gtra 2 ~ ~ ~ -.. I T ..III A lit t v ... 4~ ~ I ~ '- / .. ~ .~ .... . • v • ../'\. 1 .. J I I V .. I . ~ ~ ___.J ~ "'- '--- _... III •• 'Ii....--2 • + ~~ ~ -- .. II • . : • ~ to.... • .~ • • (~ k 1...... ~ ~ ~ . I- ..... u : u ....... .. . f!I v • • •• t: Ii...---i 4ft.. .JW... Ex../'\...r • Girt 1 t I .. .... r ~ told..n't mat . .tIJ I I I ~ 4tI -.. § ......~ _t "'" r# . _X ~ ... 4 !I • ~.II at • ~ • .. j ..

.

a IV w Olr... .... • - .... DS FWI Orr~1 > • • 47 . ....8..... 1II1II 1 J . -..J ~ . 1':. 1st string) as your "target pitch" for the whole step bend from C (13th fret.i full full Rby.....-. :- ~----------~ \..- . Fill 1 Gtr~2 N.. . ItiJ 3 I f "A )- 1/2 fulJ full ...... Fi~ 1~ ..~ ..imile 1 D G/B D G/B GIB D _. -... .'" JofIiIII full . 2nd string) to D.. I _1IIIIrr1 " III ~ s ..i - ~ ~ " J ._ a full .J1IJ I •" A'\. . .~~~~~ I '--' fun r - .~-~.... &" .. 1\... If you experience some trouble in controlling the pitch of the bend or the string tends to Slip under your finger. ~ ~~~~~~--~~~-~~~--~~~~.. 3 [Track 23] Guitar Solo Ott.r-... . try adding your middle and ring fingers to help reinforce the bend. ~ ." _'A~ J . . • ~t !!! / ..~ .. simile Otr.. ..~ ~' . ..the rhythm section. . (\ WI ~ I r I . It slight P. .. -.. J fuD .. Ex.I . _".. ~ 1'....+-~r ~ -~ . lIiI J full J .. til 1 loud.. . ./\J B Gtr... Use the top note 0 (10th fret. full D ".M . .. .. FiU 1 AlE D G/B D G/B D • ~': ~ A .. ~ A ~ r - l . A DIP . "..4 ~ ~/ I" . IV . .... ~ I ~~~: L ~:!: . . To playa unison bend such as the one In the first measure. Performing a unison bend involves bending a note up to the same pitch of another note on the next highest string... • OIr... .."....3 ~ . ...$~ --. ..' hi' .... I.1111111"'~ • full ..._ _ft " )r A v'\.. -..Jl_ A· It~ I 1':........i "' full \ iJ ... 2: w/Rhy.. 1.2: w/Rhy.. .. .M........ J ! J full ~ '''' . ~ ...... allowing them to ring together while performing the bend.l A· ~ 1\.. • 'til J fuD J _... 1~ w/FiU 1 7 - ~~ slight P. ...... I J . I. A E =:L ~ Ii J ~ 1 I • • ~ iii .. 1~w/Rhy.... Pi. .. '-" _I ~r '.. '\ let ring -•A "-- . I ~ -'.. ""'" AI •1 -.... 11 J""----- 'VI 1Al.. .. -. 3 G/B -- 1'..'" - ...._ .... ..... iii ..C..~ I : ~ ~ ~ A I " ~. 1 _3 I v ~ ~ 'r '!II....- J . fret and then pick both notes simultaneously.

. As a result..--t let ring --I • • Copyright 0 1877 Hon Productions America.. Inc4 All Rights /ilJmlnlstered by PolyGram Intemational Publishing. International COpyright Secured All Rights Reserved 48 . 1 Olr.....------I D7sus4 OS D7sus4 F D5 cs kt ring ---.I (Love Gun ." be sure to observe the term "let ring" that appears several times above the tablature. Inc. 1 (Track 24] lotro Heavy Rock Feel Rh.-.. In each case.--. you should find that your index finger maintains a barre across the 5th fret.. When performing the lntroducnon section.__ &5 End Rby. Fig. I CS f let ring ------1 let ring ------ --.l J = ca." Any additional notes that appear in this duration are either repeated notes of the chord or notes added with other fingers... let ring ---i let ring ..'77) Words and Music by Paul Stanley Example 1 • Intro and 1st Verse When working out the intra riff for "I Stole Your Love.. x j' DS x x s fr.. this indicates not to mute any of the sounding strings for the entire duration of the "dashed line.. use constant downstrokes. as this will help re-create the intensity heard on the album. 4 Ex. 194 133 n• F D5 D7sus4 05 D7sus4 D!i ~.-.. Fig.

... ... : 'iJ A fA' ~~J' 'iI = .. =: I!V .. ~f .. • let ring . A ~t •• .. ~ "'" _ .• ~ .' . U. "\: .. . _...:~ ............. j' ~ .: j .J .... ~. ~L I . 'iii' ~ it .l Rhy... iI "iI" :. oil •• l1li • III . Gtrl ~r ~A IV ~: iii " • ~ . b_ ~~ ~ ~ fjj J I """'F .1 ..-.. W I t r _L_ "". When playing through measures 11 and 12..~ III I 11 . ...l . • ~ j' ii' . ~ ~ ~ "' J _.'11' ~ .. some .... • ~ .t..... could L do. .mem ... 2nd time &5 CS 1\ ..~. I ~ . iI . the chorus riff for "I Stole Your Love" is nearly identical to the riff in the introduction.. ..... L ~ :...one.. -.1st Verse F --FL. •• jl 1IIiI' • iJ • iii ~.I _I· - "' -It. . yeah...~ I.one _ need-eel thing you nev .... ~ 1 ~ _/ ~ "-~.. FIlii Otr...._ -a....... V ~ . ---. . . I Giv need .. 1iiiJ .. ... - *? .... r l . ~ ""' • i' ~t ~ • .. !l I 'IV' ~:...."'1 .self was some . ..... ~ J ~".I ... all you could get.....t ... g ~ I r~.. r 3 - c G . . '-. ....c>: G .... d .... I ~ ----..._ "\ ....... '-- "" ..__... -~ i 1 ..I - _-It: I .... • • II • _. . ~ • . you'll soon find that these chords require similar 49 . ~~ 1Ir'l_" . II ~ • • too. . ~ 'L ..._.: J V Ii ~. - - ~. ......... re .....J leI ring . ~ . - (2ndtime) The "=L-: ~l _ft .---1 let r lng . -.... .J D7sus4 F DS D7sus4 DS l:wlRhy..~ 9 A r -3 -. "- " rlt.../+ .. ~ ~ '>-- ... r-.....er t .. ~ ...... ~I ~ II! Iii . h • II • • iliA • ...~ \ .---t Example 2 • Bridge and Chorus With the exception of measures 11 and 12. . ~ ft .ber the • Spenttime tak 109 I - day that we met... ~ .. !f_ • . • I ~J' • Rhy... ~...... you ing your._' U D5 13 ~"... Fill 2 D5 Otr... "'--i - I• • r •• iii ."""""........ .1 .... .'" .. '".._.. ..... I ..._ _. J'~ ~ -- I I ~ r .......ed some .. . • .. however. 1.~ .. rm t.....J... ... 1Irr...

" _... .._ I I =L • "\._. .. c .. ~ ... .. ...... ~ r III ... II'" ~ think of said.. '#..~ c a ......: your r I stole- ~ ~ ....~ _ -...J ...... . ~ "' _/ ... .. _... "WI' . 10 I .. . :t5 L • ~ ~ -''' .. •r .4 B ~ ." • 50 .... _.. ... I\... c ........./ • ~ .L ...../ ..~ w .. . J _"_.... "'" _~ ~ )f ..performance techniques as the rest of the riff... .... I ~ ~ things my heart play ~ with my head... 1 . ~:: ...... 111. --i ~ let ring --~---1 let ring ..-5 .. ~ 'Cause ~ -.. 1 - D5 . ~ " :Si-..11 4 ~~ Ii 3 ~ - " .........c.--... !I.. J t • "~ .JI J _- ~ ~~ ~ ~.. ~ .. ~ JI!' -.. .t J * the things you _jP' DS • ----~~~~~~~~~... ~ ~ III ..I "' .. .. I. :.. . .~. . . -------------------... .. . 2 [Track 25] 1 Bridge & A . . " I!I' • I 'ttl !II • J ~ 1 .... ......t "- -~ • -:is.. r . ~ I ... .' "' Ii! ......__" > I i "~ • ij ..."._ . ~. DS t D7sus4 . l'1 iIIl. v ~ . ~~ -<... v .." - ..-L Stoic - . ~~ ..... c ...... J HI 1...!L ~. eJ Y u''. ..~ .. Jill - ....... _I IIj ... . I * " _l ~ - ~ .i - .". : _.J! .~ I . .....L- - "' -L ...--I let ring ---...... Ii ~ :..___. . ~ ....I! " .... -- ~" .t ~ •• 1 • I D7sus4 ...:........ . I've got ~ ~ laugh when I It ~~ . .. ~ # .... r"III _'U' . ~ • ~ ... let ring ---1 •• • . I n7sus4 .~-~~~ ......-.....': J II """'I _III :x .... Just barre your index finger across the appropriate fret on the first beat of each measure and let your ring finger do the restl Ex....... IP -- - • ) II1II v . .. 'l1li' -"'111 .I'IIL .._ --- • -your love.J_ '"~ ~ " .1.. I ......... i.._ ...- ! . " I . .. .. jl" r" '-" .. I ~ ............. e " '~... ~ _/ ~ I . ~ ~-- .- I ~e ~j ~ ~ k • W ~ V .. :.. to ~ - 3 ... ·slap back from delay Chorus 7 D5 A ~~ "'. "' )~ X ......

-. ~ ~k CI ~ •l • -I • Example 3 • Guitar Solo When first listening to Ace Frehley's blazing guitar solo in "I Stole Your Love.. ~ D5 . 1.. 2nd time D5 .-------.. • ~ 3 I r C5 a 1 • .. ... If this is the case with you. A • .. approach them as a mechanic would rebuild a car engine. II V ...... g....1 wi love..~ D' 3 .... nev . When learning solos that are technically beyond your playing ability.. ~ :..J. ..... many times a seemingly monstrous barrage of licks is actually just a melodic. gon L J' II - na let - you go.... ~ ~ . . . . ." Another hammeron/pull-off appears at the end of measure 11 following a double-stop bend lick....1 f .. "1~ > >~ • ~ >.~ .... -~ " ""- • • -.. Let's try a bit of this..~ It • ... . "" r- let ring .. I I ~~ ~ ' """" /JIII .. .. simile Ott.... I ... Then he'll repair and polish each piece individually (practice each lick).----~ ....- ~ :. try breaking the solo up into smaller.J J~ > I ..." -~ V V I.- • w 51 ... _I --1 • Ain't .. . l.. t "'\11' ... I ~ ~ D7sUS4 ~ F~ IJ f - lilt .r--..11 c ~ GIr. =L.. creative arrangement of smaller. A .... '\ tI I .......... iii- _ ~.... more familiar guitar licks.. ... let .~"'--i _l_ .j~ II ..II! ~ .." some beginning guitarists may feel a bit intimidated by all the furious... .... "..__ ~ . Finally. we can see that these first few notes are actuany prebends. .. .\r I .. ----. as covered in Example 3's lesson for "Strutter.... " =L~ .....c . .. Fig...'V -' & -- ..i:::: r ...- -~ .. "chewable" bites.. ... --.... ./ Ii fill &J . First the mechanic takes the engine apart (in your case the solo) piece by piece. .. skipping ahead to measure 9 of the solo.... ~ ---- D7sus4 .. I!' II . • r .. \ 1 A let ring -. '\: J "'If'" A_r' D7sus4 D!i . D7sus4 F r ~ .--i ~ : ~........ r: """.: . r ..~ H ]~ l1li . .• • • I - .2 1 OS AI I " 11 c." III ~ .!J'1 .._.. n The next lick at the beginning of measure 10 is an exaggerated hammer-on/pull-offtechnique similar to those discussed in the introduction lesson for "Deuce. ...... !. j~ '11"- ~ I !II ......." My point here is.I . I\".. - JIL tiiJ .. l:w/Rhyjl Fill 2.-... -. ~. when all the pieces are in perfect working order (you can comfortably play each lick on it's own).. Ex. ~ .. ~1IIWiII . lightning fast licks...er .. .... Remember that those were covered in the lesson for Example 4 to "Strutter..-7 ._. the mechanic assembles the engine (put all the licks together) in hopes that he'll end up with a smooth running machine (totally bitchin' solo I)..----t ---t (fret noise) let ring-.... where Ace really starts rippin'l Beginning with measure 9... • ¥ _" .......... ... 3 [Track 26] Guitar Solo GIr. r . A 8 .3 3/4 times..-.. ~ v . a....lng ...-: . If .. - " . ... 1: w/Rhy ..."..

..... A .... .t 1 G• .....~ I IfI'" ~ JI ~ ..... ten -__ ... .. IU .-.. .----------.. IU .." r ......._.._ -r-- -~ .....6 " 4ft . -_.. ~ ~ .~ ........ '6 IV ...__ r. ._ T-... f"'- F D7sus4 • full fuU full 1/4 1/4 let ring ...... ~ ~ -I--- • • /' ... ~ _I I ... \"I~""" . ~ ....- _/ full full IV IV hil --. 1 --- .._ D7sus4 ------ os 14 A F D7sus4 Ott.. .. A IV ._.. ~ ""-""'" - ". ........... ~ . .. ~ oI~ -~ -. 'tI .- • ~ .J .. ~ i# _. II ~ 'fI • ........ A ._...... .. - cs ..' I I I - .... .. IV .. •. ~ • ... ~ -I--I-- ~-)t.. -l'-II---I-- Lis ..1 --.. ~ ..~ . (-MIl I . ...D7sus4 1'1 ~~ F DS D7sus4 DS . . ... ~ A 3 " --.... . - . • ..J ....... A'-.. -' --~~----~~----------------------~/~--------------------~/~~----------------------~--------------~--------~--------~------------------------------------------------~ ... iI II" - ..... ·_'Iayed slightly "ahead" of the beat • 'slap back from delay effect 52 .-I full 12 . I . .. i • • ~ . ..... -...r ..._ ~ 61 1'---~_ 3 ~_---.._.. .-~ IV .... - /'.._.

.~ •~ t x x X x 7 ft. 1 A D/AA D/AA5 D/A G D Dsus4 D G "'v 1 .~ ~.. . -_ "v 1 f • Key signature denotes A Dorian • ·doubled simile 5 Ead Rby. International Copyright Secured All Rights Reserved 53 . 1 D/A A D/A A D/A G DS Dsus4D G r-. 1). Remember that a 1/2 step equals 1 fret on the guitar. x 4 ~ GIB 134 X Ex. Fig. simply pull the note F~ (2nd fret) toward the other strings the appropriate 1/2 step distance... _0 4"') xooo G 134 t32 . .or undershooting the bend. . . so if you find yourself over.~ B x 7 fr~ I~ AS xxx . x ~~ D x . 0 .Intro and 1st Verse To perform the 1/2 step bend for each open G chord in Example 1 (check out beats 3 and 4 of measure 3). When performing the main riff for "Shock Me" (Rhy. Inc. FIg.'77) H E . Fig. n• 11 J = 138 Otr+ t •• (drums) Rby. ~ BS 4 1 333 n tl• x Csus2 x o~:- tn • 133 3 x ~ ... use both left and right hand muting techniques to ensure that the chords are muted at the appropriate times. This will give your ears a target note to remember when performing the 1/2 step bend. x 0 X u 3 U ~ 3 1 2 4 .. 1 [Track 27] Intro Moderate Rock 1 I2 •• . t. ft.5 fr. All RtgtItB Ai:JrruniStered by POlyGram Intemational PubliShing. Inc. This is important in re-creating the original feel of the riff as heard on the album.(Love Gun . x .. stop a minute and fret the note G (3rd fret). Words and Music by Ace Frehley Example 1..V '---" 1 COpyright C 19n Han ProdUCtiOns America.

... £" r- :"l ~ Your life IS • all I need.._ '---0~ . A .... . .. .... .......I ~ ~ .... ~ D _'W Dsus4D I G A - ... - . I .oJ - .. "' P_.. .. ~. "" ~ ~ f: ~ \. J I I I I ~ ... "'-#......_' ~ I I • ~~ . ... ~- ~~ .. w- Example 2 . D Dsus4D 15 G A -=LI :W:::f.... ~- ~ "r . _.. v . Bridge and Chorus Check out the slurs above and below the barre chord slides in measures 1 and 2.... apply some extra finger pressure to the frets. ~ ~ : •t ...... !II' .~ ~ -=L' ~ 1\_j ...._ - ____. ......... .. ....... is . .r .... . This will help keep the chord's notes from dying out during the slide....I -v f "" r ... ." .I ]III: "v - .. When playing these. "-..- .. _ ... "I r "'..' 'I :"J t l1li . . ~r p .... . ... ... It -....ft ..... my sat .. l..J aJ ~&J T • ....~ .."'-. I -fit~ .~ ~ .._ j ~ X r ~ .r 12 -=L ~~ 1 It r 'fP . If you experience trouble when sliding the barre chords in this example.. •• : ~ ~ ..... ~ ~ .... "W' . ~l ~~ ~~ n..." If' » -=L ~ g A Verse .. ..... w .. .. ~ -v .~ 1If" H_ ~J ~t ~.... '..I You - make me feel at ease.. . . - " I Ir you ~ e -ven make me glow.' J I J X v PI' - 1/2 ~1 A I 1 1 ~ I.. ""'.~ " ~ &ad _/..J~~ 112 ~~ ~ l -- . ... ... u _ft_ ..J J - ....r •t . .. J • I ....fac .. C:~ . 1(2 ~ -~ .-"...\.......... ~ u _"11 ~~ . l •~ . .I .. . ~ 1 1 .. --u V I .tion grows. ...... • ..... ~..~ ~ __ • J . 54 .. F ft. ... v I J~ .. ..j ~A....... "'v .... I I J ~ .- ·x ~ X v l .. ~ ~ ~ J r- .. I I 1 4I!l.........J Ia ••• r- _I - . The left-hand must slide up to the next chord without the help of the right-hand... remember that you should only strum the chord at the beginning of each slur. ~ l ~_] A... I I ]I _'!II. ... !- I~ \ tl ~~ ~t ~ ~ ~ •I ..: ~ ~~ • ~l l ..... 1{2 J ...... ~~ ~[ •. ~ .. A" . " - el 1 -...: .

. .. ~' ~ "'\ . ..... J I.......4 ~ ~ - • u ...Ex....... .~ ....ing :... 8 • =&_' . Lf I f I • ......t " _j .. l r • J ~..1IIr..... I '1liiio.. o ~ ::'\_ :pi I u ... I ... I I............ I - high. ~./ I I • J ~ . .. ~ ~ I...L • ~ ~. ~ eI I JIll""'" . .. ~II! "....:::r _II _._ "'" .me.. .. ~ . . • .er on me.._.-_ -- .I - . fill .r • .- I - get me cut the pow . "-~ J ~ t ~ aJ . u u .... r . r . ~ . . •• •• _". ..........i ._ ±zI ~ / • ... •• I ~ '-..' ~ ~!. 1 fII I .../ _...~ I _. leath . _II J .-.~2~ I -- E_ ~ ~ ~ ""- " ~ ~ ... ~. fiT tI' ~ '"-.1 ... iii ~ " - ill. I -. loIII ~ -fS- ~'" '" .. K .. 2 [Track 28] Bridge 1 ~ . . ~: I ~ • : ~. 11I r '....... Make ~~ me feel bet . = . .. I ~ ... . _.-• can come to ... =~ ."'\.j ·_. -!: V I ¥ ~ f D 11 " '- C A ..... " . "I ---4.... ~ ~ .... ... ~~ ~.. .... .. so I\~ ~' '-" .""" ~ ~.. ~ ~ L .... Csus2 4 ~ GIB ~ Chorus A' ~ .~~ • • ~4I1 . _. • ... tJ ~ t: .er.....geth..I... ..... ... I J r J .I .."- ~ eI ..'../""""r-- .. It: · ... . J ~ ~ ...... III ... -~ ~ ... 11 . •• ill ~ •• 4. ~ .. ~ ~~ . I' D ftI I . . . . . . ~ J..~ ..t I ~ .......IJ liIIIII . .'~ ~ -LAt- .... 4~ ~ . I ""'--.... ...... ~~ . --t5l- . ~ _-I •• 1IIIi' " ~ ....-IIIII! . ~~-----------~-~-------~-----------~-~------~~~ J _ I Shock A j ~ me. Put .... IL .' .. .~ I . . Don't • 1 f . .. I ~~ . / ..er." J' .."._...____.-::-~ ~ P'.t. ••• ... ...._. ... " " ..ft '11 ft-.' ~ tl ~ ... ~ . A~ ~ . . . ....~ ~ ._ -... ~ tJ' A . w ~ ~Mr------------------------------~~------------------------------~~~~'_--~/~~----__" .1 A .I' _1Ij . • ~ ..~ .I - ...... J . "' ..... •• J' I III . iii.. l!?e .III' _ .... ~.. '1/ I or --.i'. ' ~ ..... ~ """" 'IIiiII' ... ... I . 1 . t . ..r---~. '" Ii . I'm feel .. ..... .. • J ~I ~f . .. I r: 'II1II .. : I •"" ~. 4 III .. Shock ~ '\iiiIII me. ~r ~ - v " .' I I . ill. t ... tee....:.. .. --~.. . ...... I~ ~t... I ......III • I• L ... ." L. I Shock on ~/ your black 't:.... .-~ -'. low..... ~ ~ J H(. ... III '" I ""_. 1111 ... A 55 :1 .. .L" -... ~ ... ..

.....~ j~ "~4~ • j• •• .II ~ ~ ill . 16 ...... ~ J J _::x ~ -t J__... " ~ ~ .. ~ . I ) . .." a thorough dlssectlon will most likely reveal that many of the licks within the solo utilize techniques already covered in earlier lessons. .....~ J •.. I E It ~ ~ . ~ .. ~. ........... In measure 18.- .... I I I I~ I . . •• ...IIII.....01 ~ ~ : . oj 111"-t ~.. measures 11 and 18-19 (some of the fastest runs in the solo) are played at slow speed.. ~ owl' I A n .ft_ * fU 1 ~v . . ~~ ~ •l i •• _:III" ·t .D 10 E Example 3 - Guitar Solo This Ace Frehley "piece de resistance" is chock full of savory licks well worth learning note-for-screaming-note..JI - 8~--~-~~-----------~~----~-------------------------------------------------------------~~------.... 4th string) and D (19th fret. While learn- ing and eventually performing this lengthy solo along with the recording may pose quite a challenge.... 3 (Track 29] Guitar Solo D 1 Ott~2 GIr. 3rd string) and back by simply "rolling" your finger across the 7th fret.. 3rd string) at the end of beat 4.J. ~ •• ~. you'll be rewarded with improved playing skills and a considerably larger arsenal of lead guitar licks to employ in your own solos. After Example 3 on the recording. .... Picking your finger up off the fretboard when moving back and forth between these two notes will be a nearly impossible feat (with clumsy rhythms at bestl) to accornpilsh when playing the lick up to speed.. As described in Example 3 for "I Stole Your Love... move from the note A (7th fret. 3 l1li" III ~~ ~III t ~r.... Ex... J J J J J J -J .111 ~ ~ ~ . At the end of the first beat in measure 11. 4. 8e on the lookout for opportunities in other solos where this "rolling finger" technique (for lack of a better term) may help you to rhythmically smooth out a lick. ~ ... 4th string) to 0 (7th fret..." _.... 1& .... use this "rolling" technique when moving back and forth from the notes A (19th fret..l» ._ Iii 16 56 ..... " ~ ~ ~ I I I I I ")I I - __.

.. Dsus4 M. - ..J I"" full .. full . 4 tima.J ~----------------------------~~-~... • 1 fsJ1·M... I'" full . . D ~ •••• 05 • 3 3 I-. t m ~ -I&{ I . I . v U A ..ht 3 1 .. -. ... ~ 1.-----1 let ring --I let ring . I.... ttl II!!' .... - _j lun . ./'" _-I J . v V . I A .- ._ ••• • 15 ..... o ~ • A_. W v ... J 1 I ~ .~-~--- AS ••• M D/A .J/\/V\ .~ D/A AS ~~_ ••••• ~ A6 ~. ~- • • full II. v . full \liJl "" ill -~ ~v I .. PH . I J I full A D/A A L 3 J l 3 J L S .. Fi.J full full full 57 . J r \f lull - I ~ • ~ _1!1. v ... ! . ...~ ... ..~ _.. • I _. .. ./'\/"I' .. ... . I':/\... A.../ .. .." . iii f . 1/2 E .~. . I. simile 4 r-L' 'III.... . ._ •• A AS .. !1f-_ " full J • A~ -ffJ ..J J\}. __ • __ AS . . --t fulJ full full ___ ••••• ~-.. . 1: w/Rhy .J ~ .-..J . . • I ~ . 1 v ...... I • I L 3 I • u L 3 __ :I ... IIII!!IIi -•• V I "" ... ~ • I ." f V • '~l v a ..".. " J 'ttl v ..... . full fun - .~ 0' ..---~~---------------------------------------. llfl . .... - Dsus+ D o -. -.... J U .. I loco ..Gtr... " ..• A' 12 D/A AS ~--~----------------------~--------------------------- r-: A6 A5 G DS ~-~.r>: ..J 'IW' full •• fU ~ .. .... .... I I - j\ ....... ... • /':..1 a V r . I .. .1i.. • D/A A AS D/A AS D/A AS G D Dsus+ D .t PJi..

~. ..:::J J J Ja ~ • ~ ~ II... ~ . -AI I ~ .II1II \8'1 -....... 1 G AS" Of J> ~ ~ Of Jr -J.. I II I .-I ••. / "" ~7 M\ 1/2'" \.......--. .--i fun fun full 21 ~.--I IV •A TV .. .2 A5 BS fun ~ full 1/2 t full P..-.I ~~ ". ...- I -- ba .-...... ~ (jIange effect on) .. I _.. • I oe..J ~ .. --..i'l ' • ........ Shock ~ me. DS Dsus+ D 3 full fun let ring .. A~ 26 AS DO full Csus2 2Q J G/B J - J • G .........""it -me. 24 Fil .M. 58 .- . -... BS J . B5 AS B5 AS • -- _- . 10.. -_.. ... &I ~ I eJ I ... I I -JI!:~ • •/':~~~h~~ • full full J...~ • 1'.'""':.......I ....... • . • • ..... ...A • . .. Aj j~ ... ...) ---. IV 4ft IV . .._ '\.... -....... W --.. ..i ~ ~ EL ~. .18 os ~--------------~.. &I I ---.---......... eM &I l ... P.: ~ _. .. full . .. . ...ft . - • - ..... . fu~ ~ -III I .. . »~J. .... iii I lJ &J .. . 111ft IV -• • ". . ... _... ..by" Shock - /VV\ ~ ..... oh # it yeah.M.---"'-1 Ift'l ..... • A ~ A ~ J ... IA\ Ift\ \"1 \"'1 • • ...--------------------------.... ~ .---------------~~----~-~----.. I '" ~ t.____ ~ .. IV Alight PJIH./ 1/2 1/2 J slight P 11...Ia... ... t: w/Rhy. ..._P ...... .. .--..~ /'V\/\ A • _ _j J r-./\ ...

To hybrid pick the chords in the measures 5 and 6 of Example 1. Desmond Child and Vinl Poncla Example 1 . 1 [Track 30] 1 lotro Moderate Rock Otr. similar to that produced by striking a chord on a piano. Here are a couple more tips for playing this example: Pulling or "snapping" the strings slightly with your fingers will help you to achieve the percussive sound the chords possess in the recording. Inc. International COpyright Secured AU Rigtlls Reserved 59 . only on the 2nd through 4th strings instead. use your right hand's middle and ring fingers to pluck the first two strings. This maneuver may seem a bit awkward at first. Ex. muting the strings after each attack with the right hand's fingertips will help keep the rhythms staccato (short :) and punctuated). barre your index finger across the 8th fret and use your middle and ring fingers for the rest of the notes on the 9th fret.-_------~- -~ Copyright 0 187Q1Hori Productions America. When fretting the first chord (E minor) with your left hand. This is because when you strum two or more strings with standard picking. perform a pu//-offwith the middle and ring fingers as you slide the index finger barre down to the D chord at the 7th fret. Desmobite Music co.Introduction In order to achieve a percussive.------ ~_------ . almost keyboard-like attack on chords in the introduction to "I Was Made For Lovin' You..) By hybrid picking the chords like this.I (Dynasty '79) DE F RL . • . and Mad Vincent Music All Righta Administered by PolyGram International Publishing. It enables you to take advantage of both flatpicking (standard picking) and fingerpicking methods simultaneously or individually without having to set the pick down between techniques. following your right hand's hybrid pick attack. you are actually picking them in succession. Also. so make sure you practice this one measure over and over before you play along with the recording. Words and Music by Paul Stanley. Inc. Then. The pick can make contact with only one string at a time.1 ES J = 128 ~ . xx 1 clean tone ~M." Ace Frehley employs a form of right hand finger picking known as hybrid picking. (This same picking approach is used on the chords in measure 7. while at the same time using the guitar pick to pluck the 3rd string.. you achieve a more unified sounding attack.--------------_-------. no matter how fast you struml Performing the chordal riff in measure 8 (also in 12 and 20) will require a concentrated effort on the part of both your right and left hands. Hybrid picking is a technique which involves holding the pick between your index finger and thumb in order to free up the remaining digits to finger a chord or riff. Inc.

...t__------... -4-'" '..:(dOU:~) ~~--v---.----------------------------------~~---------------------------------------------------i E5 Rhy..1 - ES Olr. .. . Pia.. . .... . .. I .. FIR. .. ---------... ..._-------------------I ~~~~--·t~------------~~/--~'~--~--------~----~--~-+I--~'~-~I-+I--~J~L~--~l---.!...A._ r I " ....--w--~------_~~~~~~~~~~~·----------------------------~-~-~---------------w--. J) J J J J J J J JJ) j J JJ open ® A .. . ... ~.3 ~ I _ _ _ ~~------------------------------------------~--------------------------------------------~--~----------------~-+~~I~-~~ '-'J ~ ~.. 1 ~.~-----.J . - _ yeah. - - Gtr.J --~.. .. J r J. J ...l.. E D s~ 11J J J I End Rby.~~--~.------------------~~~~----------------------------------r til c: ~--------~~ ~ Mm.. r... F~ 1 Olr..~ . ---------~~ t~ t "IrIo. I III" • ~.-=~!I----...--.....-.....I . _4Ior..l P. ~----------~ ~-~~-~-----------------------------~-----------------------------~-------------------------r_--------------------------------------------~ iii H til • ... :1 ~ ~ II ... ~~~.--------.'" -.. III ~ . . ~......------------------------·-----------~-------------------------------------~------~--------------~--r"..~ ..l F=t ~ . . ----+ ... t 3/4 lima J ~~~~~~~~~~~~~~~~~~~_~~~~ ~-n~~~ ~~... t: w/Rhy... • ....... . .. .. . -A ... .. I ® open 8 .M.._r_---_-----------------__.......--=-."' LJ" ~ JJ 1J J J J~ J j j J j J .III ~~ •• . 60 .. A • wId istortion .~.. ". ~ ~... "'_v v Otr.::-~--.' ~v tt. JJ j JjJJ . !... II • v . .. 1Iff _ <r»: .---j.....~~------------~J+----~/~--~--------~{----~J~--+-~'~--~1~--~-------------------------------+~.~~~----~~--~~/~--ft '11ff ( bybrid pick • ..l ~ I .A .

I i II. .......-.. _... ..(..... ..11 bL .. ---. . /f. Fi. •. 1 • •• .. . I Do ...I I . .J I If I . A .. .. ~ J ....._ ... r-..... e' \. ~...._ ~ I J' ... ~ V I( ....._ • ~ - -- . ~ ~ jr v.........!!!!I. ~ ~ ~ •l '4 . ~ ~ -t' ~ • I: I •" ...1 .......... / f' J4 A\ \_ .... """ ~ IIIf .. ~ \ I . l: w/Rhy. . ~7 ~ If'!! .f..._ I 1 1 -~ l - . .I do ...(. ~ r: ~ ""'\... l r:J... . ....-.....I do do do do do ..... .... Oir. IV ~ / l. ~ :~ I f t_ ~ .!r"I r "" g .. ft I ~ .. ..'" I&....-. I . .... .. . \.... --. illfA • I~ .. J~ ~..._..C...a' .. P.. V A - 'T A • 'PI' • ..... I. .1!t " r-r "" 1 v . I ~ .. ft \1 .... 3 -J - I I ~.. ... -. .. A V • II' i.. J ......1 -I J U I I'" ~.. v Ott........ .. r _I ~ I . pitch: A D N. AI\ \ ''''1 - ....J Do A do do do do do do do do do do do do do do.. . 3 facet ~n 14 ~ ~-.... ~ " ."""_... I ..........:' -r do do do . ~ 1/2 . ~ ~ I'/'\E). I':~ ._ -~ .~ ... ... L ...2 Ii l... • . lilt '6 . • • ~ ~ . ~ J .... -. I I -&I I :$ r I ..__ II . ~ do do do do. ..1 1\. ' 16- .. ..-..•." "' I U I ~ V I ~ ~ . ..I - " .~ r. .. • ~~ I~ r • • .... .. 4 .... -- 1 - •"" do do Gtr._/\ '"' ! ~ I ~ I .. ._..... 1f_ r..I _Ii r ~ .- ~..~/ ..H...H .. .... .. J • ~ ~ fU I- .. J ..full ......-.... I full P.. I ~~t2.. J 81 ...C. ~ r. .. . JJJJJJJJJJJJ w~ We.. I ..._ . ~ ~ ..... ~ / ... __ ~ ..-... :$ .......I ----........W!IfII'fli. . ...a.. IL " .. III 8 ~ I..~ . r 8" "'-..~ ..... I . To- F. . I r-.A . ~ 11 ~. ' I~ ~ -. :£ ...... . '. PM . ~ ~ at "• . • J "- • - .. I rr-~ I -~ ~ ~.. ... II -. A....1 ...W' F.. . •• ... I • l1li. 1 17 ~ ~ lJ B~ II ~ I I do + N. &I :$~~ r .

.. "01 """"'-II_~ ~ .. iii..--- N...J " . ""I ...r ~ 'II1II .. .ii • . Fla."- V . ~... -.. .. .. . the shorter the note or chord duration will be... . -~ /" • -.. End Rhy...t J 11 ~ r ~ .- ~ . both guitars 1 and 2 utilize palm muting together. I fJF-~ r".1 . ® 7 fr. -.... . pumping rhythms. I r J r ~ ~-~. . ill II ~.. I!t . . . ~.... ~ • !!II . v • ' I •• .. . ~~ lUI .. 2~~ ~. 1. ~ i. -..Example 2 ... ~.. JI-9-· J" r . affecting the sound and duration of the notes involved. . ~ .. 4.... .... :.2 .I. and too little will allow them to ring together.Bridge Throughout most of HI Was Made For Loving You.. ....-----.... ....C.. . ._.. This palm pressure reduces string vibration. ~ t • K c..'.~..-. ~.-.. _ •~ S ft. providing a great example of this technique and how it can be used to create stronq. l po '' Can't ~ ~ get Ii ~ ..::j J :J J J J .. j~ .... E i J j'j )j J~j 1 :.. Paul employs a right hand technique known as palm muting (indicated by the abbreviation P..... .... ~.. "~ .r U" .. •~ ~ . .~ __----~~ __-------------------------------------------------------------------------. 1 .: : ~~ t~ .. .1 -r Jill JJJJ JJJJ JJJJJJJJJJJJ P. 1 1\ 1I ~ _II '-- J .. Too much right hand pressure will deaden the notes. .~.. ~ 100-- .-.. Beginning in measure 20 of Example 2.M. . J' \~ .----. you·1I only need to apply a moderate amount of pressure to the string.J ~~------...-... Ii •." Paul Stanley (gtr. 1: w!RhYll Fig. 4 ~ "- " .-. J J . .. f Dh.1. :t iI 62 " " :... ~ Olt.~ . 1P w :. 2 1/2 limes :z :.. ~./ I" \ '} -" ~ '- hybrid pick ~ .II. .. The more right hand pressure applied..-. ~ ..~ ---.. ~.. ... .... ~ .. ~~ ii hybrid pick ~.. ~~~ '11 JI!I •t -r ~... Palm muting is a maneuver whereby you lightly rest the fleshy side of your palm on the strings near the bridge as you pick... ir "'I ~ . w/pick ~L _I • fill." 4" 4" ~ '. "...-.. heard in the left speaker on the recording) performs a simple.-.) to keep his notes more sub- dued._ ~9-.• . ..... When performing many of the riffs in this tune... "II... __ __ ~ ... In order to keep his busy guitar part from interfering with or overpowering the other instruments. 2.. x • • IT ~ • X I!II .... }III! • ........ " • e • Dough. "" v I #I ~ - ~ '\: ...~ ~ ~ ~ ~ . ® D Ott.~~·_··_~_·_·_·_·_·~ --·W...... yet constant 16th note rhythm guitar figure which closely follows the rhythms of the high-hat and bass guitar. .

"""""""" get e .' .. let ring ---i hybrid pick -~ . -. . ~ ....--.ing --. I ...... ~ ............ ~.. P ~.. ..~~_+-------------~----~----~--+_------------~-___ -. ~ 4..._ ft •• • .. J. .. -~ ~ A • ... '". .-.~ ~~ - ~ w/pick li!t ring ...~ --.._. ... ~ j' J "\: '.t ...l1li" _~~ -~~~---~-~--~-~---L-... n '7 ~ ~... JI J. 1fJI ~ ~- t2"'-~ -. .~ • 'II. .. III"'- ~-.. hybrid pick w/pick I.. .~+~..~.. "lilt 'II~ . ~~ It. r' "- ~.. ....... ""'I 7 --• • •• .... .. ~ j ~ j .. •• -- .L ." ....." .. III ~ VI II :.. ~~ .... Ft'-.L.... "'" ~~ III "" .... ~III.. . ._.....----~ let ring -----. • •• -J ..L ~ tI!!.. '-= . 1t1 ..011 • '" ~ ~ • fIi ""'I •• . - .Dough...... ~ --..-... • nough.. 1 A _..& v v e 2 fr. J - - • . • j ._. ..J 4~ ..J' oa..----------+---1 .t ._..I 'II I . -I-- • II1II- I can't 1\ ~ get e • __ ~ •~~--~.. •• •• .lIIII... -t . .J Ii ~~ ...r.. ..-4~. • " -II ~ .. ' ••' w/pick '\.---. '"'" ~ _. . J -fit: - iI'"""- .. ". .. ~.t .. .. . iii I - .. ~..- I---+---!II~__"" . '-" ~ J ..1 .. • • ij r ... 4 ••• it ~... ~ ~ ~ "- - I I .:. ..11 I ~tfe -.---------------~~~ r 4 . fit ... ~. • I-~ • - <..... ....~ ... A "..~ - Jt • .. . p..3 7 ~ -----.. II I • lJ ~ I- . J ..j ..r..t .. ._.. 15 B ® A n 2 fr...... -iii ~. Oh~ - •. ~ .-~ • JII ~~ .. ~ ... --.. <!) B JJ I J J J J Jj J J J )) j J J J J J J J J J J 1J J J J J J J ij J » 17 ~ A _....--. • .. .... ". . • .J • ........... ~ 11' . . .. !!II r ..I I can't ... !--- • _.." ft •• •• .n . _..-~.. : : ".... J...-........ - . ... ~~ ~~ III.- ...... ~... . r ~ • '- ~ •~ ._.. -It..~ ~~ ~ r • .

...---------_--------. To perform a pinch harmonic..) are high-pitched overtones created by a specific kind of picking attack on the string.C...--~--. Ace is able to make certain notes seemingly jump right out of the speaker..... Gtr..... you'll need to slightly modify the way you hold the guitar pick.. By utilizing this technique......rrrr.. four measure solo. the notes that stand out the most are those punctuated with squealing pinch harmonics.. FIga 2 24 rrrrrrrrr._....._ ~~~_._...... rrr:rrr:rrrr. 84 .. rrrrtrr!Irrrlrrr ~M......... 1 End Rby..Guitar Solo Of the variety of licks Ace Frehley manages to tastefully cram into this short... Fig.. Grip the pick with either your thumb and index finger or your · thumb and middle finger and "choke up" on the pick so that only a small portion of it extends beyond the tip of the thumb.H.r._.·---------~~----~----~-~~--~--~~-~-~---------------------------------------------------------------(Otr~2) --------------.._------------- 22 I /t r rr t rrrrrtr rrrr Rhy...___--- --.._ ... This is important because the tip of the thumb is largely responsible for the effect. Pinch harmonics (indicated by the abbreviation P. 26 -------------------- rrrr Example 3 ..I .. 2 20 mf N......rIrrr .rrr ---....

... •• j + . / . ~ P . ..2 ~Ma------------------------------------------------------------~-------------------~ .J M 8va..._.__+------f~ _... .~..... the locations of the node points are different for each left hand fret position... ._=roo--..... - ...."'9 .. t:'.A pinch harmonic is performed by simultaneously brushing the string with the tip of the thumb while picking a downstroke.... .....C. ~ f ..... 1 & 2: w/Rhy.J A ._~.. ..../ 1 . 3 [Track 32] Guitar Solo 'r--I-" ~ ! I ! r r f I 1 N......... The best way to practice your pinch harmonics is to take any fretted note and pinch up and down the string... Different harmonics can be generated by pinching the string at different points....M. These harmonics are located on the 3rd string roughly around the middle pickup area of the guitar. .... Extra gain or distortion will also enhance the effect and help to bring out hidden or hard to find node points. . In order to achieve this. Here. . -} ~ . . Ace produces several piercing harmonics which sound over two octaves above their fundamental (fretted) pitches.... . 0 Ii ~ tr.. .-~ -.. Fig...... Ex...... • ...." ...H....... ._.J 61 r----r .~. H full I~~ full 11 ... hold bend 1\111 flaIl pitch: D Otr...." ! pilch: E • FW E D .... .2 Otr. .... I oeo Lot' ~ ~ -1J ~ f . ~... The most obvious pinch harmonics occur in the second half of measure 1. ... ~ l1li'" "... .. . .-1 full ~ 1/2 ... " . P./ I III ....a-J full /\/V\/V l!2 P. 811Q' ---------------. the thumb must also touch the string at one of the harmonic node points (points along the string where natural harmonics occur)....-.. searching for node points... .. 2....H... - ~.---+---+---~-..- GIrl...~ />: -r- '*- /'.. I I . P...___ L_ ~~=-r--+-~----+--01 I 3 . •• ..ON P." _.. I: 65 ...~ .. Moreover...... " .'t\ I I .. . ... 3 ~ ......oco • Do do do do do ... I ... L. so you'll have to do some exploring on different areas of the string to find them....

.. ~r . It - I- .. fret the first double-stop with your ring finger.. l .. Your middle finger will also end up "hanging out" at the 3rd fret... A v v A A v v A v .._ • II P. l1li 11 • ~ _.. • ... _..J ~ J .A V Copyr~ht C 1983 Hori Productions AmeriC8 tnc. v A . your index finger will be in position to easily fret the double-stop on the 2nd fret.• .. ..A V .ft " .. .~ . ~ ~ D/A . 1 (Track 33] 2nd Verse Moderate Rock N... 2nd string) throughout both chords... ~ I .... ... 27 and 31 • try keeping your ring finger anchored to the high note 0 (3rd fret.. l1li . ~ _...-.. ~ 4 l ~ _:ft j . all ready to fret the note C (3rd fret) which starts the brief scatular run on beat 3../ ... and Street Balli: M~1c /4J1 Rights Administered by P~yGram International PubGlhlng.."~ l1li .A v A v A v A v ...... 23. " . Ex.. ~ .. .#I -1 1 . f 1:. When switching from the open G to the open D chord in measures 19. A DJA A r ~ .- ~ "" I... -- - . .. As you'll find out. "- '---..- t- - . this sort of predetermined finger posltioning (see "Detroit Rock City" Ex...non. .~ .- J If . 4 lesson) wiU allow for a rhythmic execution of the lick that is smoother than if you begin the riff by fretting the first doublestop with your index finger.. -- --~ ~ ~ -..C~ 1 J = 120 ....A v ft y ft v . v A v ...--t .. .. "TO..: A ~ 1 ~ ~ --y --I JIll .- I . I 1 -r . ~~ ~ ~ ~ - ""' ...M.... ~M. I - - Don't need to wait for an In -VI • • - ta .. Pre-Chorus and Chorus When playing the catchy guitar riff found in measures 24 and 28.. " A V ... International Copyright Secured All Rights R8I8MId t 88 .J Ii t I . . When you slide the C5 diad (a diad is a two note chord) down to the 4th fret..---------------------------------------------I A B P...LI (Lick It Up IT UP '83) Words and Music by Paul Stanley and Vincent Cusano Example 1• 2nd Verse. • E ~ l II' A V . I =L .1 J n 1 _. A .. ~ -...lnc... Your ring finger can then act as a "pivot point" to help you change between G and 0 more quickly and easily than if you completely lifted your hand off the fret board in between chords..._ .... ~ . -........

.

I ....~ ~ ... r .... 1 . ft n . be sure to allow all notes to ring their full duration 68 ..."~ ~ ... The word arpeggio (originally a classical European musical term) is used 10 describe when a chord's notes are broken up and played one at a time.. ~ -.... ~ ..•.I~~ P.ft~ • . . ..1 '" _I ~ • r I \ .......... .J A . _ P..J • n • • . Lick-- it up. .. . 1 . ~ it up.. _. ~ ~ ·7 .--..~ ~ I ~* • 11' J I ~ t....ft ft ft :. H ~ t .-. . ~ j .. I ~ .~ - D/A 25 1\ ":::::L ' '\: J 1I:t!: . . .. ~ "W'I • • Jr{ ~ II' ~ ..... .. if' D )'-l . • E "II" _ft .. .i* .... j • 4l j l j " .. 13 and 15 of Example 2 for "Lick It UP. .. r:. Example 2 • Bridge and Interlude In measures 9.. --.....-'"' ~ - I- .......~ .. " .. . ft 'V n 'V' n V n ¥ ~ I "'. 11.II I it up.M."II . J ~ I . IV I ~ A ~ ..... When playing the arpeggios in these measures........... ...11.:IIlI • I .. •• " ..oIII =L .~ -tit ~ I .M~ . . ah... Come on! • . _ft ... come on..... • • J"W r":.. I ~ A G I~ ~" -v I ..i .... u ~~ ..4.. t: Ah. D A l~ - _ ....... Lick ah..~ • . yeah..... w .i P.._ . ~ .. •j • . j 'III .. A ." Kiss' new lead guitarist Vinnie Vincent creates a unique guitar solo by using arpeggios. l •• . Lick ah.. Woah... A D/A ~... -.. G ~~~ -1--.-. 1 j: Ah.. ~ •~ .. II • )~ i 11 .i M -~ . III.. v D/A A D/A ~ 2a" ~ '-" .D/A 21 A D/A----.. Lick it up... "H' . -~ ~. .: _ft u ~ ~ I V v ft . ab.t Ii .. Lick it II II up. f .. Come on.. va. ~ '~ .~ . ~~ ~~ .. r ~ ...._ r A G D A Lickit up. . .

In measure 9.~.) With economy picking.. except when moving from one string to another." alternate picking involves strictly alternating the direction of your pick attack for evety note.. Ex. (Especially when working with extremely fast licks!) If you have trouble getting used to alternate picking. To best accom- plish even rhythms.M... Try playing through the next few measures using this economy picking pattern and then again using strict alternate picking. as you may find that different musical situations will prefer one over the other. try to perform the 8th note rhythms for the arpeggiated chords as evenly as possible. but is not as clean sounding as alternate picking is when used on high speed passages. (Economy picking works fine for most licks. use consecutive upstrokes. you may find economy picking better suits your own style of playing.G G/F~ 0 A G/FiI G It's on ." Also. f P. As mentioned in Example 3 for "Detroit Rock City. When moving to a higher string... ..Iy right F _ now. Picking this way helps reduce demands on the tendons in your right hand and forearm. letting the pick "faU" onto the next string. use consecutive downstrokes. making certain licks easier to execute. Notice how each picking technique presents a slightly different rhythmic feel when playing through the arpeggiosl While each technique has its own advantages. Likewise....... you still alternately pick notes.-I 69: . when moving to a lower string. Although alternate picking offers superior speed and precision.. I have provided an economy picking pattern below the tablature system. try becoming familiar with both. you'U probably need to work out a right hand picking pattern using either alternate or economy picking techniques..as indicated by the dashes after the term "let ring. 2 (Track 34] Bridge G'/F. it requires a great deal of practice and patience to perfect.

r- ..A v V v J~ ~ .... ...... _ ...... -----.... v ..J - . - "'" ---.... " FL ~ .. • ~ -. • • ~ "'" - .. . 'Iii' 1r v • • •• ..... .... -~ Ii ..... ~ M v . t Yeah..1 LJ ... ...---I let ring ... ...~.~ J • - . ..""......... v _ft ='= ~~ ~ .:« I~I \ to :t . ::... A P"...ft v .I .._ I ~ -.. " A 'V A Y A ...-..M. v v ft v ft .... ..---I ._ - ~ - r"" P....... ... ~ : H '" ~ ~r ~........ V A v • II ......~ .~ iii 4t " v " V " ft V v A v A v A v A G 13 Dadd4 1* A G I E F1t ~ It . ... - ....... _ .. ~..... _.. ..._--_.. ~ '\. • ~. :t P..-..J ~ - P.. Ir" I .-. ... 0( : .........-..~ I . ro ...._ .... ~ . A ".._ --~ ~ • P...... ."" '* 1/1 -.---I Nt ring .M. . ..- ~ '-.:' J ~ I .--......t I • • • • r ""'. v JIll • • _. J --.--... • ~ W' JIll . . . ~ ......_. --It's on ... .let ring---1 I kt rill.A .... .. •• J~ - ....--..1 Doh yeah.~ . . •:! ~ ~ 1 - -""' - . .... ........"" - ~ ..... r "'. ·Bass plays A pedal untillhe end of measure 15. _.. ... -~ ~ r -~ . .. W ~~ ~ .. ~ ill .. .. r .A X ....... A V !: . "' . .~ .. ~ ~ ... ' A.. ...-I let ring --.....J )~ ...M.... ooh yeah......r II... . ~ -- _........~ ... . ~ ~ • • V ..... G 10 Ii J Dadd+ A r ~ 1... ...._ .----I y ft let ring -..... . «« . ..: II...--........... .._. --.. iIII . -t I -.. • !II I J~ v ~~ .. 1\.... . v .-.. " A " A " :. ._ . A Y Interlude G 7 J G -G oadd 4 A I .... 6 P". __ .._ "..........---1 . - - .. let ring v A v A v A v A v A A v v A.M . _ . -I I--- .... rL "'. - I . J !t 1 l v ~~ ~.~ .. ooh • yeah. ~.A u v v u A • picking: ..- ""'" 1 +'\........ .... I!II ~t .........~ -- let ring -...ly right now. ~~ = " " A v A v A A... .. • ".. ""' • - -• it . v v V .l -- --j <c.. oJ ~ --1 I It. .....'\ Ir J ~. - ~ - _.. VI ft 1J - '" fill ... .- l1li V . ....• i: .-{ " . .fill V " ~ .......... I""" ooh yeah...----I ... GS/F~ G A ...... A.. ... .. A v oft v ....-I ......... ... _ yeah... " u ..M. 1 ""' -.......

• a.~_=~~~y:~_u. li • jl W .. :i .:.. Jl j : :I • •" iii • •I .. .'•a . ~ I.- . ~ . ~II' .. . I _j ~ ~ . ....~~~ oa ..l : ~ A : x :.III' . ~ . . 4l ~~ ~I . ~ . .. • ft fi ~. ~ :. I ." _J a.. ~.. •l ~ . • ~.... a •l ~ •• J: • •• ~ • ~ III I .. . ...l ~r ~ j ~l 1r ft .......~ 16 --~ .. jl ~r I ~. ft = X ti T J ~I ~~ ~ I' :: . .... ..-)t. . ... ~ • ~ Ir II .~Il A iIII • . . .. 71 . ~ t. • .x : ~ I ft J:k r :. __ Woo! •l .

.: ~ .JI • ~ I ~..Il10 G r ""w_ I ~ 05 ~" .a. To perform the bends in Example 1. oF' ~fI'o . Pre-Chorus and Chorus Th roughout measu res 1-7 of the verse section for "Heaven's On Fire. be sure to listen carefully to the guitar's rhythms on the recording.. often resulting in a bluesy sounding quality.""" . International Copyright Secured All Rights Reserved .l. guitarists Ace Frehley and Mark St... ~ ~..." I look at you and my blood boils high.. II aI I ..) In measures 11 and 12.. ~ ~~ ~~ -4 I!!I . you most likely will pull the chord out of tunel Note that at measure 9. A til ~ -doubled limile " ~ "" ... sim~ ply pull both notes of the chord evenly and ever so slightly.. ~~ - ·Gtr... only the second guitar part is featured on the recording accompanying this book. . (If you H don't know how to read the standard notation in the top staff system. Inc. John use microtone.ture rise... If you exert too much force on the strings. """""" I feel my tem .l ~ ~ ~ ~..p'ra . or 1/4 step bends (represented by upward arcs above the notes) on the B~5power chords.. John replaced Vinnie Vincent when Vincent was fired prior to the recording of Animalize..ill" II1II . ~ ~~ -.. and Oesmobile Music Co... a..'84) Words and Music by Paul Stanley and Desmond Child Example 1 . :p eJ ~ v: .... . A • If ~t . This gives you the opportunity to practice through the entire example with just the bass and drums when you pan the stereo to the left. !~ l' #II • -jI A .....HE '5 FIRE (Animalize .... 6/ I ~ .to a note or chord.• Inct All Rights Administered by PolyGram International Publishingt Inc._" . " I ~~~ ~=:_ ~ ~ . Copyright C 1984 Hori Productions America. - ~ :.. use right-hand palm muting to silence the open chords after every strum..£.. -'~ . I ~ r: .. .) Such slight bends are sometimes used by guitarists to "dirty up" or add "grir... - =l " ~ 1 I. (Incidentally.Verse.. •... Ex.-..r J . I ~ .. "". • ~I I 1 • r • ~ I ..J ~I .. ~I .. I 1"~ . "" ... . .. i" -J.. ~ I ~ _:. I JI ~ ~ . I I ~" • ~ . 1 [Track 35] 1st Verse Moderate Rock OS J = 124 j o •I D ../ . Jill __... .r W' 1 _.... .. -r . Mark St. _ft II ~l I • • ...

.2 1/4 1/4 73 ..... JII ~ .....--.~ D ..• . ~ ~ ..ft • ..- J ~r r 05 . ~ .. .... V " oft •• .I _J ...I *' C • . ---.by. -.....1 ~J ... I want it all. --..: lJ ~ II I ... • ~ 11' ft -.. "I ~ . 11 • ~J ~ ~ . -JiiI ~I ] v A .~- " ~ J 1 .er.." jl ... give me what you've got. ~.ger in youreyes... .. - There's hun . Pre-Chorus C GS c I'm get ting clos . '" :: ~ I1 .-L r ... 40 hear me breathe. Htl ~~ 5: " '\. ba . \Al "'U' . ~ .c...__ al - . Girt 1 1/4 1/4 Otr. ~ iii I ~. ft h ..I .c. .. .'- I :iJI ~ •I ~ ~ jt • ~ ~. .

....~ J .. )' J~ ~ 1IlII' . ~ ~ ~ . y r.. _. I ~~ .~.. • .. I' • . ~ ~ .... t I 1(1 ~ . . ~'-. I J ""'" .er leave .. I _. Burn tI ~ f- me.. .. ~ r.. . .. ...-. ..I ~ 1 • . ~ !II • ~ ft ..~ . IIIiI • ~ • I . • . ._ II"'" eJ 1 -the . r- .. I-- C5 - A ..~"" . ~ - v .. . ..... ""'" 7 ~ .....I .........J ....... -.. Paint _ .. ~ ._ '"" ~ ~ • I'-- . .13 F You know the way to give me what I need . ...... my heart tak - mg you : .. ... ".er.... -- . J" ~ • .+ ~ " ... ( •• lJ "" - I.~ -r-.. • . I 1. high. _. ' ~ . ~ .. ~ ....._ ~ " ~ " .~' . 2 Ii " en's on I fire.. I - I-- • .. y" .... . 74 .J "I~ ~ __. ""'" with de ~ .. heav ~~:__ ~ Otrs. . .. . r : ." iii' "'. at - -- iIIr.. <. :t j 1~ l ~r U A • .. l' 1liii' r ~ . ._... 1.-- . .r ~= -. sire..r ~ . - - ...~ . v ./ • ~~~~.... I _" - .I--- -gel II fly. r _. ~~ ~ .. .. 7 •~ OIl ~ ~ """'" ~ ~'- .... . iii 1 J... III ~ )r -. I = . .. 1 \" J ~.. .it • • ~ 'III" .. ._ I ...._".. ~ " '-.... -- 5"... ~ It 1 I j .4 1' :! I• ... --J~ ~ ~ ~:" • .. ..r I -J en's on fire...J . 1&.. woa... ~ . t j "I . .. L " •t i• . T """- ~ with • ~ ~ .... .. ~..... ~ i I )t ~ • .- Just let me love you. r -. ~ ~ ~ ..... IP :Ii I ---. V • r -" J • r . t IJ " " • ....r} . . ~ . J L. -!' j~ .....- -"~~ -ttl- .- Feel- Chorus 17 ~~~ ~ os ~ r-- c . An '" heav " :~_ =L ~ '\i...._.. _. W· . J ~ - I'i"-....r as ~..I ~. I ]I "___-ttl'-' I....._.\ \ ... """"" ~ - .. ~ loa .. " ~ ~ ~ ... . . • l1li !!II t'. 't!' c 21 C5 G =L '. _.. sky _.. oJ ..:' .._.... J X ~ )~ ~.I I -.. . ~ I"'" .... ~ ---J ! .- "- :1 "11. I could nev .

. F ~... I' r Ill.. . '" . I -:::: ...... 1 U' .'_--' "-- r/ '-_~ let ring ---I let ring .. r--_-+Ii---hl.... ~ ~ I -0 _ ~ I I I- - ~ let ring .. j IlL ... I U ~.~-~~~~~--~~~--~--------------~------------1--I . I... *' ~ ~ . U ..... ...~. . A ........ in the case of Example 2. J -.. '--' I II- _ . we can see that Mark St..." we heard how Vinnie Vincent created a solo interlude with the use of arpeggios... • ~ J -. -'.. _' ~ 1 r II I L......... ~ -~ ~ ~ m... . -~ I~ . l"- ""'" r"'I ~ r . ~ ~ '- # .. ....:L. • -~ _Ii rJ . .-. ..J "-" ...._. -. I! .. ... ~ ....~..--I .' ~ 'V . ~r Ill.. 1"':]... •.... Therefore. !... .... II....f I • let T ing . -. I I ~'8r .. -...J .. .... it is often helpful to visualize the chord from which the arpeggio originates. . ~ -. . ... - i'- .. ~..."' r.. Here t in measures 11-18 of Example 2.... you need only to remember two chords to play all the licks in measures 11-181 Ex. ~ ..~.. Whoa..--I ••Il. ". A • I. ...--t '-- _ ¥ I- "-. .. J. en's on fire~- FL~ . ·r ~. fire... ~ U .... '!! ~ -.. ~ l' ~ I ij ~ "" III ...ft .-.......... J ~ .J 1 '" 1- .- .. let ring --- " _II I • .." iJ . ~ j ... ~.... 75 ... ~ ]I .-. 2 [Track 36] Interlude F c ~ &5 7 'II ~ L.. H When memorizing a piece of music that involves arpeggios... .. . we can hear how Mark S1. •• ..... John builds his lead guitar break primarily from the top three strings of an 8th position F major barre chord and a 1Oth fret G major barre chord (the F barre chord is si m ply slid up the neck two frets)..~ ..Interlude In Example 2 for "Lick It Up.. en's on .... • 11 ~ ~ ~~~==============~~~~~==~~~~~==~~~~~~=±~ . ~ Ll.. --..~ •. J ~ . -.. ~ ..... - Heav ~ '-~1 " . Heav ... John also uses arpeggios to compose his interlude for "Heaven's On Fire.... By examining the transcription./ L. '1 ~ - r~ "'" ~1l:JI -.-~ let ring .~..A ... ~ •I I .. Ii' _A ~ ~ . ~ ~'" . • iI ' lei ring .. . __.Example 2 .....l" ~ -rr-"" +-.......

..A If! ~--~--~~----~~--~------~~~~~--~~~~--~~~~--~--~~~-I gC ~-----.-.... I I [ - W I let ring .......L_"J .~ ...._~~~........ let ring ..s.3 times N~C.._ . A IV .~~~~~~~~..----~----~~~..A. let ring . .. . ~ ~[--~~..6 IV rv' IV I":.--I I' 1 A - . let ring ...--------------------------~-------~-........ . .1" I &i. " 4 !II ...-I ler ring . _... IV 4..~~.. "'- .... I" ....V"" I . I&.J' .II I V ft 1 u oe... ~ .... _I~ I.1-.. ~ ~ . ~ ...~........ let ring ---~ ft U .A 15 ::..... .....------~ ".-. _ .:ut---.. "-- / .: ... ..-.. ....' 1~ IV . 2: w!RhYt Fi~ 1.~-------------------------~~~~~~--------------------------~~--~[~ .-i let .ii... jlk ... fill '1IIft IV ... "-1. " - .. JI. • .~ J 1\ ... .'JJ ~ """"""- • -~ • ~ '"" /' ---... _/ -~. iii .-I n f let ring .. __~~ ------~~~~-~ -t-' I ~~~~~~(J~~ > .....ft r..''\...........A ..' . -.... A IU 11.F 8" c ~.t ~ "... ..• .-----------------------------------------------~~~--~----~~. u . .. IV GIr.C. ........- ..- -#-' L ~~ -#-~_ ~~ ~ .. . -____.. ............. • ...- ~ .......ing ..... .> _ . " ... .II ......rA • r '" :..- ..~ I ~ii~t::~~:r~-.. .. ~ ~J IV ~: w .~--------------------------..~ ~-~--N~~7--~------~----~------~----~~--------~----~ ~J _- ~--~~~~-----------------------~~--~L~ ~~~~... Jill . IV .A~ .... ...! ...J'. tet ring --. . " - • V . .A IV l~'~J~ . "" - u"- -----... IU • 1 1 J ..'!I. .~------------~-----------------]I'" ]II ~ let ring .... .--I let ring ----.t "- ~ r oW J 1 _ .. .V . _. iA .....__-~--_....-I .111 ..~ . ' .~~ let ring .: " I~ 76 .. ._ __. I---+.. ~ 4.~ -_ ~-.. IV ...~t::::::::::::::::::::::::::::::::::::::::j ""' _ - ...... A . ~ ~E' • .------~1 IV IV"'..... IV I'"'' •• IV ••• . IIIIiJ .... _". v IV II leI ring -... ...8 iliA ~~ .... r .'lj""~ --"" I -.ft_ u .1 FL '\.... L'I!' 'A l1li' .. IV 4ft iliA IV' ."'" I. f .r ~ • II' l'... ... n:IJ~ ft ... ..n. .... '~....-. ...1 ~: ~~J~ ..

and are working with just the tablature alone... even rhythms as indicated in the transcription. use an index finger barre completely across the 9th fret.. 15t Verse and Pre-chorus LLI By depressing his guitar's vibrato bar in even 8th note rhythms on certain chords (indicated by check marks above the term "w/oar").. relaxed touch in order to achieve the fluid scooping effect heard on the album...... 2 ~n~ 133 t 133 n• tn. 133 . (Bruce Kulick replaced lead guitarist Mark St. J IJ J ) J .. 1 [Track 37] F~ x xx ~~ x 7 (r.. simply depress the bar with quick... Try not to hold or depress the bar too much....r P. John prior to the recording 01 Asylum after Mark developed an acute form of arthritis known as Reiter's Syndrome. as this 'dipping' technique requires a more subtle.(Asylum •• '85) Words and Music by Paul Stanley Example 1 • Intra.. and hear precisely where to apply pressure to the whammy bar in Example 1) if you study the accompanying recording with your stereo's balance panned to the right speaker.------------------------------------------------------------------------------------------------f J... be sure to listen carefully to the guitar's rhythms in the recording. as this is important in recreating the original feel and melody of the riff! Ex.. J J.M. You'll best be able to concentrate on the rhythms. t• DS latro Moderate Rock xx S fr. Again. J J J J ~ J .. International Copyr~ht Secured All Rights Reserved 77 .. All Rights Administered by P~yGram lnternational Publi8h'ng~ Inc.. Inc. if you don't know how to read the standard notation in the top staff system. you won't have to reposition your left hand when it comes time to play the following F~5 diads on the bottom two strings. x xx J = 124 •• 9 fro ® 2fr Gtr. Measures 5-12 feature a riff which is also used in the chorus for "Tears Are Falling. This way.---------------·--·--~-------------------------------------------------------------------------- Copyright C 1985 by Hart Productions America.. J . guitarist Bruce Kulick adds a much more interesting quality to the intro and chorus riffs than if those chords were permitted to ring normally." When playing the F~ major barre chords in measures 5-6 and 9-10 of the example.J JJJ~JJJ~ ~M. you must be sure to strum only the notes indicated in the transcription.) When performing the vibrato bar scoops in Example 1. However.

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For the wide interval licks in measure 13. try to work out a picking pattern using either alternate or economy picking (see Ex. take it slow.. 2 (Track 38] Guitar Solo GIr. use your index and pinky fingers to execute the pull-off on the first string. fast licks which utilize very wide Jeft hand stretches. you'll probably find that the key to mastering these licks lies in working out a predetermined right hand picking pattern. J J f full Ctr. as you don't want to pull any muscles in your forearmsl To play Kulick's acrobatic licks in measures 21-23. use a technical approach similar to that described above for measures 21-23.. Throughout these measures. 3 1>. 2 for "Lick It Up"). . measures 13·17 are played at slow speed. and an up pick attack for notes played on the second string. or maybe even a combination of both! a down pick Ex. 1> J J . Later. Use attack in picking the pull-ofts located on the first string. 2 1 Ott. Use your ring finger to fret the note E (17th fret) on the second string following each of these pull-afts. This will economize the right hand's picking motion between the two strings and contribute towards more even rhythms when performing the licks at high speed.Example 2 • Guitar Solo This lengthy solo is presented in it's entirety to provide you with one of the most challenging and potentially rewarding examples in this book. As men- tioned in EXample 3 for "I Stole Your Love." the best way to approach learning such a monstrous solo is to break it down into small.. manageable portions.. In measures 13-15 and 21-24.l w/bar 80 . as these extremely tricky and yet melodic licks will probably require the most attention out of aUthose in the transcription. Bruce Kulick fires off a volley of lightning . At the end of the example. If this sort of lead playing is new to you. in measure 15.

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..... J -.~ 1/4 ....-r:... .... --..... ~ /w V V /' ......iI~. - 8va . """" . Bva ~~..• ... T '\I.. ~ I' "1'6 10 ..} Ie.. P..J J Vibrato Bar Scooping Vibrato Bar Dips Legato Slide Shift Slide Pull-Off Hammer-On Legato Phrasing Ghost Note (first note picked only) ...1' .. "filii.. .. Bva ..". ....~ ... IV A v~ Compound Bend and Release (every note picked) Slight Bend (microtone) -1/2 ~1/2 Unison Bend Vibrato Vibrato 8va .. __.".. ~.....-...______ .. • .. If:k~~"......a....1 8va ..... •• """" ""IIIIr..ttIP I~ "" .. /' '-/ . Pick Scrapes Open Harmonic Pinch Harmonic (with pick) Harp Harmonic Anificial Tap Harmonic Tap-On Technique Bend and Tap-On Technique ..I---f---------I+------............e..........• .." v / V " I w/bar w/bar -1/2 -1/2 V / . V ~ ~ -I .... Ii ~ i.. A ....... ...... .~~.. ...... M • v ~ ...~{..... ~ --. A A .. .. . "-'V J ...... • . I \ ....H...._~ I 1/2 J .... A 1£ .• ./ J .." -1/2 .. ~ ~ Strings Rake Sweep Picking »<:> Vibrato Bar Dive and Return ... • ..... ~ A_ full '! J g- .~ [..'--~ full j' ~ .. I~ .. I .. r I. 2 full .._.... 0 A wI bar a A vA 1\ IV 0 . .A "... 1\ :fIIJ ~ VVV 8va .. • ..... .... Wide rake--t . ... ...A. _.J..... ....... .....~~~~~~~~~~~~~~~~~~~~ ~ -=----~~~. + . .....1 . a.tA 3 .J full .. II -.. A '-.. + .. VVV -1/2 ...... ~ ~ . x""""_ x - Svo .. .... . + - J C __ --A u_ Harm... I I "'...! I~ .. V " ...- .olio ... ... wlbar ~ b'~~- 'p=:: -~ . full A........I ...........L _/ .... .. J .~--~~~~ J __ -+~--~-m-~~-T~-~--. . 111 :2 Prebend (with bar) . Ii&.... ...~~ .t . .. -I-- ...---++----....~ I.~ . . ~ \ -7 1 I ~ ~..... Bva ... R Bend (half step) Bend (grace note) Bend Bend (whole step) (whole and half steps) Bend (two whole steps) Bend and Release Prebend (string bent Compound Bend and Release (only first note plucked) before nicking) Sva _ _ _ _ ~ _ _ _ _ ~ A _ _ _ _ _ _ _ _ • • • • . P... .I 11.......... II .. ~ II . i:..H. • til i. ....~~....• .~~~.. eJ 1 ~~ 1/2 f*11. ~ ~.. ...... . ~ ~ ... ... jill·. • • .oil ~ .....- .. 8va . v .il..1 8va "" IV' .'1J ....~--t+--.". fA\ v.... ~~~2 _l ~~---+I __~..J ". r H. U 3 T~ ..) Staccato Phrasing Choppy Phrasing (extreme staccato) Rva Fret-Hand MUling (percussive tone) Pick-Hand Muting Tremolo Picking Trill (fast hammer-onl pull-off combination) :1...~-----~~----~--~----~~-~ . II .. .....-_-+++"'111/-...--....IJ 'J .·-~---+---~ .. Bvu rr .. . ~ ttl . .J1111L--. full hold bend T .." .-..___ .H~ ." I~ ..... .. - }.. ~ Bva ~ .. .. --~ Bva ~ .. J .. ..... ...J'" .'" r-: \_ \:._j..... _"\. iI V W ~ p 'tI iI ~ y ~ itl ~ A v " v A v v A ~ ~ " . ...._--++-_ 1 • &va • ....." ~ . Bva .. .~.....J "L ""..- "' .. "-'1 . ~ Bva .~~ .............( ~J ~ 1\ . 8va .'" . • A t\ • oil It ill • ....... .. 8va ~.. 2 full T '\ fuJI 4~ ful_l -...... ..·~ffi r-1 --------.\~ T J 1/2 + full J .-. .. / r-: .......~~~A~ ~~~~~~h~~A~ A __ /\ ~...NOTATION LEGEND ~~~. ~ V ---~~--. h' 14 & . g A ~ ~ -I - -.... . II " . 1""- f* ~: -..... ------------..'~ ---' ... g \I -- . Bva .....A ~ I... iJ . .

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