HOW TO USE THIS BOOK This book is meant to be an introduction to the guitar for anyone who is interested in exploring this fun instrument! Inside are arrangements of pop, rock, jazz, and hip-hop songs. Sometimes the entire song Is shown, but most of the musical examples are portions of songs that are approachable by the novice guitarist. There are also explanations of key concepts, chord exercises, and lots of rhythm activities. Most of the songs in this book ask the guitarist to strum chords according to the rhythms indicated. In order to have the best possible experience playing these songs, work to play the chords and rhythms as accurately as possible. Many of the rhythms are a bit different from what you hear in the original songs, but they do fit with the original songs. These strumming rhythms have been specifically customized to the needs of beginning guitarists—they are meant to help you succeed! Whenever you see the symbol ®, that means that you can play the song with the original recording. | really encourage this! If playing with the recording proves difficult, remember that there are many ways to stow down the playback speed of a recording, and slowing down the recording may make playing along a bit easier. ‘Whenever possible, the lyrics are printed just below the chords and strumming rhythms. The rhythms are for the guitar and do not correspond to the lyrics. Sorry about that! I do encourage you to try to speak or even sing the lyrics as you play. Moreover, it can be interesting to analyze the lyrics to these songs or even write your own lyrics. You will also see a number of musical excerpts written in tablature (tab). | intersperse these throughout the book to provide some variety. After several days of chords and strumming, you will probably want a change of pace, so the book switches gears and offers you some tabs to read. The book is meant to be used in page order. ‘The songs chosen for this book meet a few key criteria: + They are artistically worthwhile songs that are fun to play + They represent a variety of musical styles + They include many songs by underrepresented groups (women, people of color, and LGBTQ musicians) You will notice that there is no standard music notation in this book. There are lots of excellent reasons to read and use standard notation. If you want to leam to read guitar music in standard Rotation, there are many excellent resources available, Finally, a few more tips for success: + Pages 3-6 contain lots of terms and concepts. Consult them often! + Learning a new instrument can be frustrating. Try to Keep a joyous, lighthearted attitude, and be patient with yourself. + Play along with record Explore! Is. Play together with other people. Make up your own music.KEY TERMS FOR THE GUITARIST Chorus: usually the most recognizable part of the song; the part of a song that comes back Muttiple times, almost always with the same lyrics Verse: the part of the song that comes back multiple times with the same music but different lyrics Bridge: a section of new music that has not been heard in the chorus or verse; typically happens more than halfway through the song Intro: a short section at the very beginning of the song, before any verses or choruses; usually instrumental only Outro: a short section at the very end of the song; usually instrumental only Riff: a short fragment of molody played by an instrument—often the guitar; similar to a hook Hook: a short, instantly-recognizable part of a song of Beat: the steady pulse that exists undemeath nearly all music ‘Tempo: how fast the beats are Rhythm: how musical sounds relate to time Measure: an organized group of beats; most music groups beats in consistent measures/ ‘groupings of 4, 3, or 2 beats Time Signature: this set of two numbers comes at the beginning of written music. The top ‘number indicates how many beats are in each measure, while the bottom number indicates hat type of note (quarter note, half note, etc.) equals one beat. Barline: a vertical tine at the end of each measure—these help the music look organized and help us not get lost! Double bar: two barlines, indicating the very end of a song measere a 4 Sime ee | Signdlaceof Beas indie Tie: combines two notes together to make one sound with the combined value of both, When you see a tia in guitar music, you should strum/pick the first note of the tie ONLY. Dynamic markings tell us how loud or soft to play. They help make our playing a lot more interesting. forte (f): loud piano (p): soft fortissimo (ff): very loud pianissimo (pp): very soft mezzo forte (mf): a litle bit loud mezzo piano (mp): a litle bit soft Crescendo: gradually get louder (notated with this symbol ==) Diminuendo: gradually get softer (notated with this symbol oe ) ‘Accent: to emphasize a musical sound, often indicated by the marking > Other Musical Fundamentals Pitch: how high or low a note sounds Sharp (#): this makes a note one fret (or a halt-step) higher Flat (b): this makes a note one fret (or a half-step) lowerGuitar Tricks ‘Slide (s): leave your finger on the string and slide to the next fret indicated Hammer-on (h): leave your finger on the string and slap down another finger on the next fret indicated. Do this without plucking the second note! Pull-off (p): have fingers placed for two notes, the note before the pul-off and the note after. Play the first note, then pull off the finger from that note without plucking, leaving the second note to ring. Mute: find a way to stop the string(s) from vibrating so that the string makes a dead or percussive sound when plucked or strummed. You can do this with the left hand or with the right hand! PARTS OF THE GUITAR B00Y — STRING PEGS PICKGUARD. SOUND HOLE \ FRETS TUNING KEYS POSTON MARKERSHOW TO READ TABLATURE ‘Tablature (or tab) tells us which string and which fret to play. Frets: The number refers to which fret you press down with your finger. it does not refer to which finger you use! A*0" means an open siring—you play the string indicated without putting a finger down on any fret. Strings: Tabs have six lines, one for each string. The line where the number sits is the string you'd play—it's where you cover the fret (left hand) and where you pick (right hand). The only {ricky thing is which lines correspond to which strings. This is Important! 4st string 2nd string, ard string 4th string Sth string 6th string HOW TO READ CHORD DIAGRAMS Chord diagrams are really important for guitarists. They tell us which fingers to place on which ‘strings, which strings ring without any fingers on them (open), and which strings should not be played at all, {like to think of chord diagrams as if the neck of the guitar has been turned upward, so the head ‘stock is pointing straight up into the sky. The vertical lines are strings, and the horizontal lines. are frets. A number in the diagram indicates which finger should be placed at that location. So in this example: | Jeet rhs aad string eG Hh sheng Heist stony Je 5th 9h Je 3-4 slang ist rek de fer Bb Gd Yt beet ‘The 2nd finger should be placed on the 3rd string, 2nd fret.EXPLORATION EXERCISES ‘These exercises are designed to help you get comfortable moving around the guitar. | ‘recommend doing them every day for the first week or two, and then occasionally after that. ‘Once you get the idea of these, you are encouraged to make up your own combinations. Part 1: Strings Only! Pluck... + The 6th string + The &th string + The 5th string + The 8rd string + The 4th string + The 6th string + The 3rd string + The 4th string + The 2nd string + The ist string + The tst string + The 6th string + The 2nd string Part 2: Frets Only! With any finger of your left hand, touch... + The 1st fret + The 3rd fret + The 2nd fret + The 5th fret + The 3rd fret, + The 7th fret + The 4th fret + The 2nd fret + The Sth fret + The 4th fret Part 3: Strings and Frets Now you'll place the finger where indicated, Press the finger down, pluck the string with your piok...and you'll hear a note! + tet string, 1st fret + 5th string, 2nd fret + 2nd string, 2nd fret + Sth string, 3rd fret + 3rd string, 1st fret + Srd string, 3rd fret + 6th string, 2nd fret + 2nd string, 4th fret + 4th string, ard fret + 1st string, 7th fret + Sth string, 4th fret Part 4: Strings, Frets, and Fingers Similar to part 3, but this time we care which finger you place on the fret. + Ist string, 1st fret, 1st finger + Sth string, 2nd fret, 1st finger + 2nd string, 2nd fret, 2nd finger + bth string, 3rd fret, 4th finger + 3rd string, 1st fret, 1st finger + 8rd string, 3rd fret, 2nd finger + bth string, 2nd fret, 1st finger + 2nd string, 4th fret, 4th finger + 4th string, 3rd fret, Srd finger + Ist string, 7th fret, Srd finger + Sth string, 4th fret, 4th fingerCHORD DIAGREMRow, Rew, Row YooR BoAT oh je J, J a 12 ree, eee your beet gently down the theean} D Ay z Dd eee ete cag d H T Merety, merely, mech, marily, Whe is but ow dream, THE, HOKEY POREY 4 3 } : o o-— UT Gru pb your) I right Fisk in, you put gine right Bat oot, yo pa your ae a7 HB Ps + eight tistin and Gow shake # all abut; you ft t do the hokey pokey end gen turn gewrelé areurd,’ D f t H thatls what it! alt a~ bout! ff Also toy THE Hokey Pome wimg thee elythys! © @ q | ai fp Eel lis H tt lee iPAPERBACK WRITER tet The Beatles 1166 kag the Bates erg, 5 , Aq me u t t 1 Dear ser or aden, will you read ny buh? Et Yowkme” years to with, ill yon f ; pele et? Bs ied on a anal bye men named Lear, ond L ; i‘ D f rae { need a jrb.se Lo wath be a paperback — writer q yg i} paperback = Wer ter | ! Try speakig or singing the ward while yr ploy | 4 Als» tey PAPERBACK WRITER wh these shgthes ge disetilegiiizeiilys 4 dleilyapllyst il yp 4 a D patella. mM Br A Uo A Aya on) @&) wv <) Dd AD RUAN inna dlFirst Tabs! Many wad A LUITLE LAM Moke MARY arey BiatHDADMew cuonn © Em CE mine) BH o u PRACKCa Moving Ameue THE Tee CHoRDS You KNW! e, EAGT, Em 5 ist u Oo LA LA Faces — 1973 0 U The English band Faces rachded gubinst Resaie Woad (whe woatd later gon the Rolling Stones) and svager Red Stewart, The sory sses He sane. Lone ~measne pattern °s reper, 4g D cheed yD chard p Em chord 4 Em herd \ Play rh th LA with the follewny chythas! i é~ a OF | 1 Ea uy t qo Em ee ee PLAY PATTERNS 1, 2, and3 AS A LASS AND THEM Adon with THe recoavine | co@ Come As YOu ARE Mervaan Smells Like Teen Si The progressin we will arn is jurt tuo Em ' u These are the checds far the verse. Theg alse work peetty well fir the che Ge EG Healy (lag Hen Be bilge EF recae had Fda bev k gan Here Are some possible steamming rhythns, Teg them alone, as 4 elasy and with He cceedng | a 7 ee f fan ee @ Q Em D eS 4 4 co 4 4 : 1 Fic Fan ead challeye ... fey He bess Ine!x New CHORD: AL -Goajsr) HEE! q "Plog the A chard on the Following rhythms : : : AQ dd ddan f FF : fOn Das Odd 1 sy Now practice moving Aaing these chords A Em DAT f EEE THAT LL Be THE DAY D Buddy Holly e197 n_4 h | way | Ther't be fhe dag hen yer sey gurdbge, yes, A 4 t 7 u 1 thar'tt be the day oben gen make me try, yom D fo h u t Say you're gona leave, yon Know its g Wie “eanse A q reid 4 thet be the deyrey-ay whee To die ExTensnens 27) Play while speaking of saga the hyeres q 2) Substitute J JJ % in plece of every 0 UCoo TABS FOR Cool peorLe ( the Following melodres by reading Hy tabs? Con ym ples OD) one To 504 2 Seven Nation KRM @ D Smee OM THE WATER Suusning OF Your Love 0a Ceaey TRAW eee - Play twice © 1-4 tre Be arengene to Lenn 5 is aa eytee challenge! Secke out recordings of ack bine $0 you Con dle rhgthas ac welt ac the tab, leewNew creep: E Gaye) HE fi oa I is Tr _ HE Loo HH t ae SHO fh be Sei EBS Nts yea tbo 89) 7 = ae 4 +e jd ia el a Erland #6 one for tte amen, chor fete sho, tree h get ready, nov ZU yOu con Kaveh me downy” shap oa my Face, slander n> name all 3. Wel youcan barn ay bense, steal my Chr, Zrink my liquor Erom 4a D A CL Ger ak, 9p but don't fee Stee on ae bie sucte eer HSilace bat don't old Prod jar but dant é ee wall yoncen | de gay thing bat lag ot shee & ee of my ble sucle shoes T coTHREE LITTLE Biras Bai Mave bod He Waees~" Exodus 1977 nt) t : q t to uv Dest — Worry Tere] abot @ thing Guee] “cause evry tittle Flag s grunbe ‘ t | t—-& t | worry CREE] abet a thay Ceree] cause e wrsght Carre’ 5 singin! don't D A every Wile Hong ie goma be all ih Cai] : + 1 t—e 4 Rese up this meening, saile vith the rising tun. Three bette A D A ft ae + + { birds pirch by my — doorstep singing sweet songs of melodies n & D Rk t }-2—— 4 Pore and tre, sung “Hhie is ny message fe you movree,” RETURN To Extensions? 1 Play while speaking or singing the lyrics py 2+ Play along with the recording: TS. Strum ths chythe on erery mecsere intel? J] IT TS 4, Everytime you see the word CRIFFI, sone staduts mey want Ye ploy He beyboard Vi€E ZF goes the thes: - eh q f + — " E 1 - = Oa Hi) cooNew CHORD? G Mow, LET’s Review TRY STavuming THESE RAYTHMS on THE G Choad? perreD HALE NOTE = ouk CNORDS: 3 beste E A7 a Em A Hee Suen’ us. A The Beach Boys ~ 1463 al G Fae Eee D 4¢—___jAnsn;»jnnnn TE eserybohy had ax eo — Coan acess He US +A., yor d Jee Ym tering thee BR — gaits, A D Pichi cee ie) ay , nin] Eee then every "She sur — Fea [ke Colifornim as G 15m hnarachi sendals, tov, A Deon D New plas the gregzession a noon, nm bushy, buily bloal "her — de, She Fiat’ US AL Verse 2 You'd catch 'em surfin' at Del Mar Ventura County line ‘ Santa Cruz and Trestle Australia's Narrabeen All over Manhattan: And down Doheny Way Everybody's gone surfin' - Surfin! U.S.A. Verse 3 Welll all be planning that route ‘We're gonna take real soon We're waxing down our surfboards We can't wait for June Welll all be gone for the summer We're on surfari to stay Tell the teacher we're surfin' Surfin! U.S.A Verse 4 Haggerties and Swamies Pacific Palisades San Onofre and Sunset Redondo Beach L. A. Allover La Jolla At Waimea Bay. Everybody's gone surfin' — Surfin' US. A. 18More Dope Tabs | : : a= £ fee ; - / qcerter—resto beat of silence . Eye of the Tiger (Survwe) 2, Redemption Song (8rd Marley) 3. Lost Yourself CEminem) ef, 4 Pretty Ween (Roy O-bise £ 5 James Bond Theme pbs |Tans t aud SHOOT \ The Beatles—"Plecse Please MEIGS origianlly by the Lsley Brsthers Ths is a fan Seng to gleg slong with the original recording { Tey the peegeessren ging these three rhy thas : co OA 2 | te 3 @ D G A K- J] At. 2 SH CG ie eee > XTEMSIONS * Oke Line Cheep repeating as the tong plays/) u J. Sebo RICE Ceomes later in the sing) (repeat 4 times) oI ne cept of 6mm oa; Ea ey 20THESE Beets ARG MADE FoR warn’ f Menty Sinatra 1466 \ E ) faer te + +t 1 You beep saying you've got srasthiny fee me, t t + 1 Something yoreall love, bat con ~Less A +S } 1 i Wh cre yon shoulda hase been messin’ and nud You've been weir’ é jj} 2 te . to 1 WD Simcene ele ss getty all your bash (ee) E G E t + t boots are made fer walkin’ That's jntubat Hell Le 6 E A fd pe} \ One of theredays these bats ore gerne walle al) ove bl you! EXTENSiows: fe Play while speaking [singing the lyeres. WZ. Play along wih the Nancy Sineten recording. 3 For every whole mte (o), substitutes J tJ 114. For every whole note, sabstitete’? Jt SD INEW CHORD * Am STRUM THESE RUVTHMS-ON Am + m4 o—td—dod, LWA Ly uy t JIA ys ely PAM dey pe by NEw RHYTHM Sirtecnth wtese £1, FFA + beat pod 01 Oe Sy @ Q @ @ @ @ PREP FOR “OVE Come var ee Let's REVIEW ALe oF ovR CHORDS! i nnd € Jj ae ait Ea — Fie poh 277 fr a forpoas Pa fos Of uy er ae4u LE cone, THEN eoRy oN 2 B CHiRp/ mr | Cena tien Fury ow oe sf An glided of yee fs for ® ™ VEELE HE STRINGS WITH YouR LEFT HAND FoR Lwe 7 @ pi Orr ed ddd Dt ay 22OYE Como VA Sant ank- “Rbrayes’= 1971 errgincily by The Puente I Geb There are tuo raain patterns pa this song: oe Ls Most of the song uses pattern #1, Occasionally youll plage’: Of co + JT tel Dy May dy You can play this bine en Ay ov with elt the string, mall ted, Hews to play OYE Cope VA qieg ort Pit on Santana's recording, = Play tne L for a while! — Listen foe when bine 2 heppens, Leecher meg want te call this ont ahead of fine] Play ime 2. 7 Go beck te playmy Ime A. Tomy te bine 2 *gaie f. u when appropriate = That's basically the whole song! ly i AL U f u 23STh22 Ruyvtums The next two pieces are well-known melodies From a style called jarr One characteristic of these and many other jar pieces ix the swing style, which means Hat the eighth nutes are uneven Cor swag)? EVEN Crormelt) SWING Canerer)) eighth notes eighth notes Ta See [Mule le gene strings with your leFt hand and leg these rhythns in Swing style. DL a Sh rly ee i pitnoytin, es ae pt Ooo OOS) » @ © @® @ coo © Have Fan learning the neat tus pieces For extra snjoyment, some members of the class can plag a swmg rhythm with nuffled strings while others pity He melody,PCIE SUING eR Court Basie Chairman o€ the Board” = 1954 (®) Te play with recordings start around 1:00. FAL SS Pee eee eee eee BT Pee LFF FS A B N OPTIONAL ACCOMPANIMENT Comb ble your strings |i asMinoR SWING Django Reinhardt k Stighene Gragpelli 1137 acces : aes & 2 ria (ann tas ane io a 4 f Coot | (slide we) ; ao —— coh ee (ede Hl ttt +H DPTIONAL ACCOMPANIMENT Cmaftle your etrings)? 7New cHeep? © eg vm ow C! ee OFF. a ynnony eighth vet 2 bead of silevce 4 LEVI 1p at De Dey foe Psy (eo b&2EFR YR (2A HL | ores S4L) peta fee pay fo Poy Pfr po af py MTCC 2 ha eek 6 ba aah dh 1 aresey yd @ onda be tly @ @ ee of TO 28 36 4h 1 2k 3L 4k 7 B4Y aoe suite Gn Em pdt ae Clé 24 Bh t & 14 hie 4& ) FoR Rock sra@s: Practice ths rlytha with « charge of Chard on the lest eighth note, This emphasis of the Wad oF ke Lag ty called SyweeratioN, This gactalen yeep pattern | requires « deed rok change batwcen dhoeds | @ 4 ~ Tiid)~ , 27(Feo), Fee tr : 5 The Beatles "Revolver “196 CS S Em EA qt S t-6- n 4 1 Ah, tock ot att Te lonely people c Em + + t { Ak, — loak at alt the lonely pe—ople. (lease £\ cen) Se Tiss Eleanor Righy piste ap the rice nthe Uhenlolecth ald iy he lives inc Tecem Em a ee i oa Bats ab the winds, wearng the Ace thet she heaps in «jar by the bose Where t fer? i) 2 AN the Lonely ge— ople Where de Hey all come From ? 2 o 2 2 AN He lonely gem—ople Where dy they alt belong ? 28Cape on 3 Peer For “ROCKET MAN” A ¢ Gein ca G Oho ope tddigte te G @f tty ey a Fo Rocker MAN Coheres only) * ™e CAPo 0 ond Elton Tbe "Haty hitennt (42 54 qe Am ne a ALE shat 8 grove tet quem eer perred a apt ne coned ageen te Find qe aimee Ae gee they thi ae oh noranine ? tn & racket wan, “he ik nia’ out hrs a ae 4 q A CALA t “A fA Jit 1 G OR RR ore, > Ank © thosk It's gonna bea leapt te “Fit toch down cee Fouad equate bad TA SR, Oma ca 6 C 7 net phe man they thunk an af hone, ree ae Lina ORO ore many rocket aie bectin’ oust hes Ese wp here 4 4 alene 24JOLENE cage on AEA Ener Dally Parone (AVS ® ers og 6 BER A 1 t t Oa; lene, So lene, To lene, Jo lene Lt , & Am 2 ist + t 4 Tbegypag of you, please dan't tele ny mea An} € G Am 2 o +—e + t + lene, Jo lene, Solene, So lene 6 An 4 }-° t t t \ | 1 Cleese das’ take bin, jad because you cen. 1 Meee Cisse TEE Am c & Am fo \ beaaty & beyond compare with Flemay beeks of auburn have wth (2.9 Faths abecyen rm hor sleeg there's nathing £ could de te keep From G : Aon : Z -e- + t { ore en tae ed jee (Am) c G Am 4 }-8 ——t += 1 Smiles tihe a breath of spring, yoor-verce ry tot fhe Summer ceiny and L tan easily tndecstand how you conld casily take my man, bat yon nr & 8 4 7 We came compete with you, To omtaee Le don't knsw what he micas te me, Se lene, : — ¢ G AS Ty ' t + Beit me ate ytineas eters telleraly det aes Pa GQ Aen . + i t + t \ begging oF yon, pleats don't take my man. toSoe Ev , continued An) Cc G An fi : : be r T t lene, To lene » Jo lene, S lene Ge Am to t ' Pete Please don’t fake brn ‘jest beemnse you Can. n How To Peay “Tovene’: You con play with o¢ usthent the smgrak reeerdingy T= FE using the recordings you might try reduerng He speed - (25% ¢s @ good optim m YouTube), — LE gin neod moce challenye, try * Jt Sibettatas sf netort a eeya verte seeiel In glee of O- + Lorting up the Fiagerprekng fabs end grving Hen 4 try: They ore auetrne and very chellengiag | oo coo co 3/fFoweR CHoRDS ing playing Here tor [Now abeut these | Ov these? Or there? coher at onee fanttoptin sles 7 tanga onal x 4 s B 5 These ave all Pouce curos! Pree cheeds hive tus or three artes. They are clean, Simple, and gre For rack music 2specally on olectric guitar, Fon a Gy om 7 Tipess f Beveriy HILLs | Weer er- Make Believe = 2005 Be-ver 1y.Hille | Tha her L want tobe, Cgimnes inet, ginssgione) Li vin!’ oa Be verly Hills LT Lové Rock N! Roth D love rock #'vell, 50 pat ansther dime in the jukebox, baby J Tt t S + f ty + jt $26 DZ deve rock wl cult, so cone and tebe yar tine and dance with me. Fractice Tips tir Ths Page: + Go Sesmeyl Ploy Forte Ctevdyt ' + Singnglsgecking lyrics i Finn, bust these songs Sead Good witht the wardr, tee! = Recommerded Fingenng Foe any power thord with no open strong | Wh be det hanger an higher string 154 Linger en lower efring - pera 32REPEAT the previens THIS FEELING MeAsvee Aledeme Shakes ~ "Sond & Cater” 2015, 6 See, E been havin! me a Fe sathett hep, josh bet pray Beruny val bce eer Ge ene ate mee) & z “4 tine feyna olay ace and Lift ny any here An G “” ® Sspet this % 5 4 real geod time but it Feels 54 nice fo bnew Zim gues be etl erght S jusbheyt 4} ea One, -y 4 a Be dreaming, 54 gust hegt deesavay, i was" Cc e sion agy +s time Aegial fo Fageee oot why asbedy sony ode Am of} OL BY, eee el ee bans Arca speat alt th See, Z been hava’ me eal goed time, bat tfeels 3. nice to bow Em guna be all repht. Sp ee Es Atsstt-~. ~iyljyoy allege dnt fake my Lechings L have Fig ot last. wn fe i G oe © Please don't tale mg Leelings 7 have foal at fest, An gett sz 4st yy H © Yeah, EL wacked teres LIE beall onght no 33* Feée-For “Viva LA) vipa” oe ae Practice a mays peaking, or strane fm ¢ HG ¢ Be =H ae LA while helPthechss claps Ime 28, @rA ° “ 7 eo 4 ©) cope 1234 1 jt pod de dp sy did. eH seacoast l teyy Now, have half the cless play tae 34 Se eee claps Ine 38, 4 g. ® ; | AL hkl CAPD TIME| Put a cape on the Fest eet of gar guctar. lay lines Land BA with the cape ans tas do Hey seed déteed? n u Here are some more pred options sound mere cs the original Seg. 5 Se Cc D a En ©pLL Oye PN lt ly Now Tey PLAYING “VIVA L& VIDA” witH THE RECORDING, Adjust the speed of the recording te go slmer if yon like, Vie a : VATS Sate tse Utberent patterns for the dered sechiomns of the song! 34Viva La Vida (Coldplay, 2008) CAPO 1 INTRO: C-D-G-Em x2 RSE c D used to rule the world G Em ‘Seas would rise when | gave the word c oD Now in the moming ! sleep alone G Em ‘Sweep the streats I used to own INTERLUDE 1 C-D-G-Em x2 VERSE 2 c D [used to rol! the dice 6 Em Feel the fear in my enemy's eyes c D Listen as the crowd would sing: G Em "Now the old king is dead! Long live the king!" c oD (One minute | held the key 6 Em Next the walis were closed on me cob ‘And t discovered that my castles stand G Em Upon pillars of salt and pillars of sand CHORUS 1 c D hear Jerusalem bells are ringing cS Em Roman Cavalry choirs are singing c D Be my mirror, my sword, and shield G Em My missionaries in a foreign field c D For some reason I can't explain s Em ‘Ones you go there was never, c D ever an honest word G Em ‘That was when I ruled the world 35Bust a Move — Young MC (1989) Bass Part Written and Performed by Flea (from the Red Hot Chili Peppers) Le Live 8 j 5547 a a Lie Cc O-O 7-8 3-3 5H LIn€é Dd 3 7 55S 36pnt B Cc My Girl - The Temptations — 1964 Bass Part ry 4 f E =f | so et Fa F}—-s—} 13 233 $5 ——o| ? J+ detted quacter motel S beats a7 ES a f 7s > ga_5 sd bos cence unde + +t = —=t 4 a 2 a —+t Sees oa: ® n OPTIONS? = beam [ine A vaty = Learn bance A&B = Learn line © only > Lecen all 4 lines 37New © Datel MO Bger 4 om (0 Eat HoRD | iF tag 28 Ee ste Os Ste Han ii mF 4jJjf2 We fo foee eer seis fries @ Moa stun the sane chythas on Fi, adding the dignemics (value merken gz) rrtten ? dye Sf = ios ly pty £ J. let a (BZ Lets revie : AT Em I ie I arse Pd " £ wall of ie oe! fre 6 efiieh Hea OR BS Am c A EA a OES oo co oo 38ALL APovogies (R) caro Lo Nirvane—"Ln Uteea= 1443 Renember 1 When playing with « Cape, stat conting Frat AFTER the cope, «, amy — ce Lb Ld DT regeet for a totel of 1G measures m4 uq “P What else should! be What else could | write All apologies I don't have the right What else could | say ‘What else should | be Everyone is gay All apologies. a A LL LD LY pepect fore thd sf 8 menses f “In the sun In the sun Inthe sun | feel as one Inthe sun H : tte 4 f ee ont idl pee, foal x16 FX6 C= repeat until end [wish Lwas like you In the sun Allin all is alt we are Easily amused In the sun I feel as one Allin al is all we are Find my nest of salt Inthe sun Allin all is all we are Everything Is my fault Inthe sun Allin all fs all we are Nil take all the blame Allin all is all we are ‘Aqua sea foam shame GI (let ring for 2 measures) (do this 4 times) ijn all is all we are ‘Sunburn with freeze burn Martied,,.maried, maried! Allin all is all we are Choking on the ashes of her enemy Buried! Allin all is all we are Yeah yeah yeah yeah Allin al is all we are Alinallis allweare 34You caw'y Aways GET ® what You The Rolliag Stores — tase Bleed” 1969 n NE sing hae a rather beng Matalin witha children's heir! To stat at the first verse, cue up the recording around 11S, aa . oe n (DO asi 0 sa ay OA sauhen today ot erecap — Mere a # oss a oe a ” less of wine inher handy clans Oe on, q Dew she was gonna meet her contae —> Hen} at hee cf F feck was a Fok lease man. You (Eunos | c oe ee Ny s get what you went. P F 4 ' dng somchnes, yesh “fad you get hat gies c e fl ey C. Coad here, ar regent the whele Form for verve 2 and chorus 2) A» H u 4oAems Caro on 4 Cheistie Plerin “Lovestngs 204) el 1a ay toe EL never tinal that yon wold bythe om to held wy Pore si wm heart. Bat yon ee you Reshma off the MUnTIveE-EnBT-EOU-LI ESS D seowl fon the stack ing pel quar gems around Fe G c F 4 pisos tas Lacy LL You pat your ams atsnd me, asd Tm hone. Cp) qi ioe) oa How many fines oo change your oe actand ? En) prinsiioytiny, ina diss, cond decide 16 Lit Net ym sene my We ge if £1 ao believe Mat tS easier for yan to let me ga, Em G c Am not yey Ty drown. (£7 TE hepethetyon ete right Hengh my Walls F Am G c F Lhope atcha \catse Dm alerts Falling, 4 fe ri e) ¢ C pica tite, J Lain, | Le Li never leh one Jove gts close You ted yur een arnad atjanl Ea bane 4ae Minuet IS. Bach ay (1685-1750) Guitar Guitar Ctr ) Gtr, Gtr, 42.PATHETIavE SONATA Ludwig van Beethovens/ 798 This 1s very beautiful p/ano music thet we com play on gaiter | The chords are an exten, om Case you and 4 Frrend wart to pley thy duet. Otherucse, streh te the melody wertten in the tabs. as ow erstand how Listen Carefilly fo 4 cecording of this so ou can und iF goes: PLAY ALONG Witt THE RECEROING, caro on 4 To 43SCALES C Maser ec bp EF GAB C 6A GF € DC F Major FG At BbC DC t Ren DHCHig idea Git Bb Major Bbc pe FE AGA € F EL BD CC Bb G Major GA BCL De fpe¥E FE DE 6 AG D Major DEmw GCG ABAaDAB AG FEE D E Melodic Minor —— 44 d - t { E fre Sa ME'TD CBA aa E Chromatic i oS EF FFG GAAKB cH ODEE copa CHBLAALC ELE E AYSeomé CHORDS There are $0 MAWY Chords ad 50 MANY waye To pley then / z rages recongaed Brainy es you can't és here, HE a0 B EEE Ee ae cheed!) a EOE & ~ * m™ og 3 3 ooo nt 4soo oO ne Se = > x ° S 2 So. x &3 so ia ¥! oA SFR ES “ERE FS oe. 2) 4G22eq= wa Zeq=4 222q = wg Lieq=q 94eq = wag 94eq = 93/40 942g = wagjuigy 9seq = aay gueq= wig gueq=q Seq = wy gueq=v y4eq = wiqa/ui# seq = aai#o eq = way/ugD yleq= qvito e4eq = wg eleq=o e2eq= Wp seq=5 Zeq = wg zreq=a Zeq = wi seq = #4 10% 4944 OO | X b AOUIIN 48/# JOU FOCAL GG Joh eIL 0} ca q7