VERSIONS With Notes & Tab ER Transcription Arrangements by Fred Sokolow Riss HUCK RY CONTENTS 2 PLAYING GUIDE 4 CHUCK BERRY’S MUSIC. . . AN INTRODUCTION 12 Almost Grown, 16 Around And Around 24 Back In The U.S.A. 26 Beautiful Detich 30 Carol 87 Guitar Boogie 26 I'm Talking Abour You +40 Johnny B. Goode 46 Let It Rock 50 Little Queenie 55 Mabellene 61 Memphis, Tennessee 65 No Particular Place To Go 70 Promised Land, The 76 Roll Over, Beethoven 94 School Day (Ring! Ring! Goes The Bell) 82 Sweet Little Rock And Roller Cover photo by Michael Ochs Published by: on SS THE GOODMAN GROUP Music Publishers New York, New York Exclusively distributed by:ALMOST GROWN Note the ‘descending double-stop”’ lick halfway through the solo (as mentioned in the /ntroduction). Words and Music by Chuck Berry Moderate shuffle beat D7 (spoken) HH pe eS eee ee (Wo, wo - oh__) You know I'm al- most grown. (Wo, wo - oh __) ra * JL | rh 1 ~ . : % G Ry ee ee re? oe gem eee ee ae ET FT OO es — sds po EEE EE EO /_-.w Pe Es es : a LL} | Yeah‘n’ I’m do-in’ all right in school. —_ They ain’t said | broke no 2. Got my - self a lit - tle (3.) (Piano solo) 4.) Ah, she’s real-ly out of this (5.)—— But | done mar-ried and _ set-tled te q a CM Be ed ere Zee PAY OT “ed ae i a rg eee 2.4 4 eee eee Oe ee eee eee ee ee eee «= ee ee Se eee (cP ee TY TT Te OL SCC is” Ney T_T EEE ee ee ____ t rule. | ain’t nev - er been in Dutch. __ job. I'm gon -na buy me a lit - tle car, world. When | take her to a dance, — down. Now | real- ly have a ball, ___ i. err eT es eee ee ee ee TE ee eT se a ae ] ee SL Se Copyright © 1959 by Arc Music Corp. International Copyright Secured Mada in U.S.A. All Rights Reserved 12g 3 3 | don't browse a - round too much. drive my girl in the perk, Don’t both - er me,leaveme a - she's got - ta talk a-bout ro- mance. us) tes) so | don't browse around at all, 3 An-y-way, I'm al - most grown. (we) Is. (after 4th verse) 2.1 don’t run a-round with no — mob.— Guitar Solo 3. (Piano solo) ry 4. Got_my eye on a__lit - tle irl.c G D7 D.S. (5th verse) al Coda 3 5. You know I'm_ still livin’ in town 14AROUND AND AROUND ‘The backup lick during the second verse, and the second solo, are derived from the “sliding ninth chord’ idea described in the Introduction. Words and Music by Chuck Berry Bright shuffle beat 5 1. They say the joint ‘@- go- in’ ‘round and ‘round. Yeah, reel-in’ and a - onypan © 1988 oy ae Mane Co, verter! Coppi Seared Mata n USA. TAL ght Reserved 16Fe Well, they nev - er stopped rock: in’ ‘til the moon. B %P 2. Oh, it sounds so sweet, (3.) clock, 1 got-ta take me a chance. Rose out- a my well, the place was packed Front doors was 4(il . Ty li Ht : UT ly Ki p +! Nia Im Ip | it a eal (i hy Nall it E° i If tt ~ ~ a a- flew doors reel- in’ and {tsi TC TT | CG CS a a- clap-pin’ my well, those rock-in’, z I% 8 = tt) Eg +) ) | o§ Bo ivan 7 : & LUT a. an ~~ zg 2 N = 2 ; (ode ts \\ 2 2s v= | os 09 8 i : I! a3 33 eit + oe =a o 5 ry - Le BS TT 8 M “ Tt y\L | © EU PO fe and fe me | Co | COCs ‘round - nn ae i; Te ee . T | " 4 go - in’ rt Pi , E ess [| S”—CS ee |_|. ££. T A seat, locked, LD - le 7 | 7] Ee _— ft ig Cee 1 oo S| . TCS Ed iT eg | | @-—~,. ~~» 4 CS Se SE A a po no TC Start-ed mov n' my When the po lice a __ St} $< St a a ii x 1 | il ‘ ; N iy 23 WO i if \ lat ele aS er Ny nt | 2 : oH oH 11 mr U sh sl UL mL HL had tae tT) ae r) ea rT) ae a qa 7% 9 tet) as! ALN K) rh 4 hee rN hH To he ae -went Mt moon F>—~ — the yh 8 ‘til (Last time, repeat Chorus and fade) Guitar Solo sound YC a i. i : ‘| Ir ! { I (I fl | i H | it a) D they kept on ij vg | _ ay -——_49—. I Oo 7} what a cra - zy RE Co To] EEE] ee ED T—eTED.__ ] a a [ - . | FR A —ee TT ye eT Pf Tee pt POC LO OOOSOSOC#C##CNCNCOC#C#d {> 5 ttiC“‘ KSC ee _ Pe rE ot ° a- es ee a ee | a _. es | ee. a (Last time) Oh, ost =o ~~ yt fT] down . 4 Sa a yo 5 i} ra 2 pCi‘ a a a es a a ee fe A- well, they nev - er stopped rock - in’ {| —_—_—# ey ee es . <4 = eee oT __o id [4 7 — a E - ; 5, el ett. Se s—=~=é=*#= RE rock- in’, 5 : eS ee Re ee eee" eee Co pi a2 | on Ao Hl og 2 i i | fl I m I i i Nl + | | A EL if ai] ai i | ( TTT ee -_,__ ——_ ._ T_T Ee yr. rrrrrr™t—“Ct CC Td [ Q ays J _] C= 3. Twelve ot, —~4 =). a Aas . a ty | Th fh | COU ti‘ UY [p— oO a eee] | Ln at me mn | | TL Hi Hi | li | mH UE oH | 4 | | | nt a f i Ah a A ni i | Hl Ay tS i ee lal wh ]] ald Tt quia ie LL : fu = See ioe rt tee Mee an 20BACK IN THE U.S.A. Berry wrote the song after a trip to Australia. The list of U.S. cities sounds like a patriotic litany: ‘‘Detroit, Chicago, Chattanooga, Baton Rouge.” He developed the idea further a few years later in THE PROMISED LAND. And the Beatles used this song for inspiration when they wrote BACK IN THE USSR. Words and Music by Chuck Berry Medium Rock D Guitar intro LA rl A " ‘ A fa ioe |!) CGti“‘(isé*d 2 —_T_—— i | pd pe eee eee el | ee eT 5 . : f S g g Bag ag at eee Fy 546 i678 18 {8 1839-7 18 : )_ eee pT oo ee ooo G Ay > > > Lt 6 USCS pe ee co © Le =. 2 ee a. a peed SS NS ES A RS LS SS a Ge Ge a | | mteemabsenesen pee | D ta pr i Ee a | A a ee ee ee es es ee ee Py eae _—e—=Ee”™_ acre S-- Copyright © 1959 by Arc Music Corp. International Copyright Secured Made in U.S.A. —_ All Rights Reserved 21&? well, oh_— well, feel 3. (Piano Solo) 5. for 1. Oh drive - in, search-in’ We just touched where ham - burg- ers in-ter-nat - ‘nal run - way. night and day. op - en grill, _ ground — siz - zlepelled back home— from o- ver - juke - box jump-in’ with rec-ords ——s3— 2. New York, Los An ~~ ge-les, oh, how | yearned for _ you. 4, Did 1 miss the sky-scrap-ers, did 1 miss. the long free- 6. Well I'm so glad I'm liv i in the U SAL De-troit, Chi-ca - go, From the coast of ‘Cal - i- for-nia to. the Yes, I'm so glad Vm Chat -ta- noo -ga, Ba - shores of the Dei-a - livin’ in the U.A p — ToCoda}, Tegan (to Srd/ath verses) fone just to be at my home back in old Saint Lou. bet yourlife | did ‘til | gotback to the U. - S. A thing you want, they got it righthere in the U.S. A. + Guitar Soto D (to Guitar solo) 24D.S. $4(5th verse) al Coda D A 5, Look-in’ hard. liv- in’ in the UL 5BEAUTIFUL DELILAH ‘The countryish cut-time rhythm pattern is similar to that of MABELLENE. Words and Mu: by Chuck Berry Brisk, steady rock beat co 1. Beau - ti - ful De-li- . 2 Beau - ti - ful De-li- Guitar intro 3. Beau - ti - ful De-li- sweet as ap - ple pie, dressed in the lat-est style, —___ bath- in’ in the._—sun, fel- las__ pass - ing walk - in’ down the al - ways gets a swing - in’ like 8 au; di - ence of no-ticed_ nots a Copp © 186 by Ae Mun Con, Inerretona CopyGr Seased he's USA. AN Rights Reson 26with a speaks so would - n't Ev - ‘ty time. you see her, Deep ro. - man tie eyes, Lo - cal Ca sa = nova Beau - ti-ful— De- li - May - be she will set- let her steal— his heart that’s the rea = son why__ mar - ry af - ter a - while.{ Re- bec - ca don’t break it, just. for fun, _ 7L 7 (to Guitar solo) 22Guitar Solo c ogy D.S.${(3rd verse) al Coda Repeat and fadeCAROL nswers back” repeating the rhythm (but not the melody) of the vocal line during the verses. ‘The guitar jing ninth chord” lick during the Chorus. Note the “I Words and Music by Chuck Berry Bright rock beat = g Fo ‘Chorus Capra © 1988 oy Ae Ml Co. nrnaoral Copy Seed” Mae n USA. AL gs Paseo 30let him steal your heart na learn to dance__ 1. Climb in - to my ma-chine so we can 2. wan - na hear some mu - sic like the cruise on out. boys are play‘n, 31swing - in’ tight, pat fit - in in tle joint where we your the 0 trigue— foot, don’t let + pen, you you when can jump and him car - ry It’s_not too far back off the high - way not so Don’t let the heat o - —_ver-come you when they You park your Oh, don’t the 32A little cu -tie takes your hat ‘n’ you can If you can’t dance, I know you thank her, ma‘am. wish you’ coul time you make the scene you eyes on you, ba - by,let him steal your heart na learn to c 2nd time, repeat Chorus and fade takes me all___ night and 234(to 2nd verse, Chorus, repeat Chorus and fade) 2. Well, if you 35I'M TALKING ABOUT YOU ‘The straight-four rhythm pattern is unusual for Berry. His solo starts with the "imitation bottleneck lick” mentioned in LET IT ROCK; it also includes a taste of Berry's “descending double-stops.” Words and Music by Chuck Bern Moderate rock 1. Let me tell you ‘bout a = 2 Let me tell you ‘bout a eee 3. Let me tell you ‘bout a her walk - in’ down a up - town I tell you now, she looks so + tin’ right here by my fine, — you know 1 skill, — sucha - deed,— that’s why I ezyrah © 1961 oy A Mac Com ena Cony Sacred Made USA. "AL Rigs Paseo 36wish she was mine. | get shook up ev - ‘ry time we meet, beau - ti - ful build she ought - a be some-where in Hol - ly - wood. asked her if___she’d__prom - ise me some-day she would be my bride. No - bod-y but you... V'm talk- in’ ‘bout you. No = bod-y but you. | do__mean— you. Yeah, | do — mean___you. on,— give’ me a no = _y but To Codey [re V'm just try’n’ to get a — mes-sage to you,Guitar Solo agD.S. ${ (3rd verse) al Coda c7 Repeat and fade 39JOHNNY B. GOODE This is one of the most popular rock songs of all time. NASA put a recording of itin a space capsule example of American pop music. Biographers take note: Berry grew up on Goode Street in St. Loui he originally wrote “where lived a colored boy," not “country boy.” Words and Music by Chuck Berry Bright rock beat pb Guitar intro oh 188 by Ars Mus Co, Inuenatona Copy Sass ace nS AN Rights Rane 404? 1, Deep down in Lou -'si - an - a, close to New Or - leans, 2. car- ry his gui-tar in a gun-ny sack, — 3. moth-er told him,"Some-day you will be a man, back up in| the woods a - mong the ev - er ‘greens, — sit’ be - neath the tree by the rail -road__ you will be the lead - er of a big ol” eb stood a log____ cab - in made of earth en - gin - eers would see him sit - tin’ in Man -"y peo - ple com - in’ from miles allived a coun-try boy__—_ named. John- ny 8, Goode __ strum- min’ with the rhy - thm that the driv - ers made, — hear you play your mu - sic when the sun go. down. rev - er ev - er leamed to read or write so well, peo - ple passed him by they would stop and say, May - be some day your name - ‘Il be jin lights, _— play a gui - tar____ just. like a - ring- in’ a but that Tit - tle coun - try boy could ‘John - ny —B.—- Goode to = night.’ 42John-ny, go! John-ny, go! John-ny, go! To Coda} 51, John-ny B. Goode. 2. He used to 43Guitar Solo BD eb BbD.S. $(3rd verse) al CodaLET IT ROCK This workingman’s tune features a rare bottleneck guitar solo. Berry wears a slide on his ring finger or pinkie so that he can solo as usual when he’s not sliding up to the 18th fret for that one bottleneck lick. You can simulate the slide guitar sound (if you don’t like bottlenecks) with this lick: {f this reminds you of the bluesy lick in SWEET LITTLE ROCK AND ROLLER, it should; the SWEET LITTLE ROCK AND ROLLER lick (as well as a similar lick in 'M TALKING ‘ABOUT YOU) are imitations of the LET IT ROCK bottleneck lick — a classic slide guitar bluesy sound. During the piano solo, Berry plays two “sliding ninth chord licks,” one for each ninth chord formation: = original chord = slide up to these notes Steady, rolling beat Words and Music by Chuck Berry 1. In the heat Guitar intro % B> of the day, down in Mo-bile, Al - a- bam-a, work-in’ on the rail-road with a 2: in the eve when thesun is ‘sink-in’ low, all day I've been wait- in’ for — the 3. ev-‘ry-bod-y's scram-bl-in’ and jump-in’ a - round, pick -in’ up the mon-ey tear-in’ the yr 1080 oy ar Mase Cr, nsnaons Copy Soca Mace n USA. Aas Rasa 46Guitar Solo BrBO D.S. % (3rd verse) al Coda Guitar Solo as 49LITTLE QUEENIE This is one of many Berry songs that was covered by the Rolling Stones. During the solo, Berry relentlessly churns out the same one-measure lick over and over throughout the chord changes; while playing the IV chord he switches from an F formation to a ninth chord formation, but few notes are changed. Notice the rhythmic variation of the standard backup lick during the chorus. Words and Music by Chuck Berry Moderate rock c Guitar intro in my throat when | saw her com-in’ down the aisle.— | got the wig-gles_ in my knees when she Cop © 980 by Ae Misi Cor ror! Copyigh Seed» Macein USA. AN Rights Resredlooked at_me and sweet - ly smiled. Ze Pe who's the Cee fstana in’ ver by the rec-ord ma - chine, look - in’ like too 51min-ute 0 - ver sev - en- teen, think - in’: still think-in’ She's in the mood; no, need-n’ break If it's a slow song, we'll o- mit it. | ought -a it If she'll dance, that -'l get And if it’s good, 52 then we can she'll ad - mitCome on, ie let's shake Come on, let's get with lit - tle Queen-iet lit - tle Queen-ie!lit - Ue Queen-ie! Guitar Solo fadeMABELLENE MABELLENE was Berry's first Chess record and first hit. Berry presented itto Leonard Chess as IDA RED, his variant ggested a "bigger beat’ and (according to pianist Johnny Johnson) alr cream (prior to recording Berry had been a hairstylist). of a hillbilly tune, with a rockabilly beat. Chess su chose the name MABELLENE from a popular he Notice the distorted guitar sound; Berry was playing a fat hollow-body Gibson ES-350T. Later records featured a clear- ¢¢ sound with reverb added. The country-style backup — root in the bass/chord — fifth in the bass/chord — is alo atypical. The opening guitar riff is based on the barred triad pattern mentioned in the Introduction, Words and Music by Chuck Ber Russ Fratto and Alan Freed ny at (Repeat previous Cops 185 Ne a Ga ing crate US ores By Ne hae Core ‘teal Coppa Soa ines "Ati eserves 55Ma - bel - lene, You done start -ed mo - ti - vat - in’ 0 - ver the lac pulled up to ‘hundred and down, the heat went 56saw Ford that's road. to rain, lead, Cad - il - lac do-in’~a - bout five, rain - wa - ter blow - in’ all my Cad - il - lac look-in’ like it's stil gDChorus er to bumper, rol = fit to side, that was do - in’ = my tor good. {Ma Ma - bel - lene at the of the hill. can't. cha be + bel - lene, You done start-ed back do the things. 58Guitar Solo 2. > 5aD.S. (Chorus and F Bb 3rd verse) al Coda Repeat and fadeMEMPHIS, TENNESSEE This simple, two-chord tune has some of Berry's most delightful lyrics, Nearly all the backup licks and solo- ing are based on the “sliding ninth chord’ lick (see Introduction). Words and Music by Chuck Berry Moderate rock G Dm dis - tare in 2. Help ome, in 3. Help me, 4. Last Copan © 188 by Ac Mil Cor, mrnetoral Copy Seed Made USA. AN Rags Reserved 61get in Mem - phis, all the trick - led 62call ridge, —— gree, please, the wall, pi nes nes 622._ {to Guitar solo) Guitar Solo D : | D.S. (3rd and 4th verses) al Coda Repeat and fade 64NO PARTICULAR PLACE TO GO ‘The song is very similar in structure and sound to SCHOOL DAY; it's a shuffle beat twelve-bar blues with the same “'stop-and-go” pattern as SCHOOL DAY: The singer sings a measure a cappella, and the band comes in and “answers” him for a measure, with the lead guitar imitating the vocal line. The first guitar solo includes the “descending double-stops,"’ and features a difficult choking lick in which two strings are stretched while the first string is fretted and held in place. In the second guitar solo the same lick is performed without stretching the strings. Words and Music by Chuck Berry ‘Steady shuffle beat De G 3 3 1. Rid-in’ a-long in my au-to-mo - bile, 2. bile, 3. 90, 4a 3 oy ry be - side me at the — wheel, I's anx-ious to tell her the way ' feel. so weparkedwayout on the Ko - ko - mo. still try -in’ to get her belt a - loose, Conran © 186 Ac Mane nrratona Copy Seaee ade a USA, a Rigs Rese 65All the way home 1 held a grudge, 3 my cul fie = ty run-nin’ wild. — and she leaned = pered in my ear. so we both de-cid-ed to take a the safe ty belt that would-n’t 3 3 Cruis - in’ and play-in’ the ra - ao Cud - dl-in’ more and driv - slow, Can you im- ag-ine the way. felt; Cruis - in’ and play-in’ the ra ao —i— i. 3 3 ; 1 stole a kiss at the turn of a mile; So | told her soft. - ly and sin - cere, The night was young and the moon —was-_—_gold, 66To Cod: an? 6 =I4 Las 3 with no Par - tic - u ~ lar place go. with no par-tic- u - lar place to go. | could-n’t un- fas-ten her safe - ty belt. with no par-tic- u- lar place to 1, 3. H 3 Guitar Solo 3 3 2. Rid - in’ a-long in my au - to- mo - 4. Rid - in’ along in my cal - a-boose, a768 No D.S.$ (3rd and 4th verses) al Coda ca 3. 3 par-tic- u - lar place toGuitar SoloTHE PROMISED LAND ‘The first and second solos start with the “barred triad" pattern mentioned in the Introduction, and all three solos contain Berry's “descending double-stop” licks. What a great poem about an East-to-West Coast journey! Words and Music by Chuck Berry Fast rock left my home in : Vir - gin - ia, Cal - i, - 2. Right a - way | bought me a through train tick - et, rid - in’ 3. Work-in’ on aT - bone steak a la car te, fly - in’ © 18 oy ho ti Co, Ineratons Copy Seanad ae n USA. AL AIWS Resores 70nia on my—— mind. pi clean. = en State, —_ Mis - sis - sip to the Gold strad - dled that Grey-hound and rode Ral - eigh and = on__ 1 was on that Mid - night Fly Bir - ming - ham, pit told us in thir minutes he’ would Car = oo ~ fine. to New Or - leans. ter - mi - nal gate. nChar - lotte, help me. char - i - by - out come. passed of down Lou Rock ‘si eas, - an rev - er was amin = ute___ help me get to Hous - ton tax - i to the ter - mi - nal nine - ty miles out of At - peo - ple ‘there who Cur your en - gines and lan cool 72 + tle sun - down, ‘bout and— in’ ot of they won't let the make it to the had mo - tor trou - ble that turned__ in - to a strug - gle half - Sure as you're born, they — bought__ me a silk suit; they An = gel_- es, give me — Nor : folk, Vir - gin - ia, Tide - way a - cross put lug - gage wa - ter, four and that ‘Hound_ and | woke— Tell the folks 73and left. strand-ed in over Al quer- que on a this is the prom - call- in’ and the Bir = - ming - ham. the prom - ised land. on the line. 1 Guitar Solo 42nd Guitar Solo D.S. (3rd verse) 6 al Coda ‘@copa 3rd Guitar Solo 2 75‘The chordal backup is all rapid downstrokes. Both solos feature the Charlie Christian-style “slide-the-3rd string-up-to-match-the-2nd string” lick (it's also in the MABELLENE solo). ‘The Beatles are one of many groups that covered this hymn to rock and roll Words and Music by Chuck Berry Bright rock Guitar intro ROLL OVER, BEETHOVEN | | (e) saorseeams eae, pela RE RL ET Ae 72+ write a lit-tle, let-ter ‘mon’ — mail it, to my lo-cal D. J. Yeah, this'sa jump-in’ lit - tle rec-ord 1 want_. — m_ jock-ey to play. Roll o - ver, Bee - tho - got -ta hear it a- gain 72. You know my temp-‘ra-ture ris - ing, the juke - box _ blow-in’ a fuse. (3) rock -in’ pneu-mo - nia 1 eed a shot of rhy-thm and blues. (&) = ly in the morn-in’ and I'm giv -ing you my warn- in’, don’t you— (6) wig- le like a—— glow - worm,dance — like 2 spin-ning top. My heart beat-in’ hy -thm and my I caught the rollin’ arth-r - i - tis sit - tin’ my blue suede Hey, id -dle did- dle, I'm a- She got. a cra’ - zy _part-ner, you soul keep a- sing- in’ the blues. _ down ata thy-thm re - view. play - in’ my fid-dle, ain't ought - a see ‘em reel and rock. — 73.ver, Bee- tho - ven, tell Tchai ver, Bee - tho - ven,__they're rock -_in’ ver, Bee- tho - ven, tell Tchai she got a dime, the mu - sic 1 (to 3rd verse) 2. D 3. 1 got the 4. Well, if you feel it ‘n'like it, 6. You know she go get your lov - er, then fle fur-ther, then reel_~—and-—rock withone Guitar Solo G7 an-oth-er. Roll 0 ver Bee-tho - ven, — dig these rhy-thm and blues. D.S. (5th and 6th verses) al Coda (5.) Well, ear -° ver, Bee - tho - a-roll o ver, Bee A-roll 0 - ver, Bee - these rhy-thm and blues. 81SWEET LITTLE ROCK AND ROLLER While a second guitar pumps out the standard Berry-style boogie-woogie rhythm throughout, Berry sprin- kles in various backup licks and rhythmic chop chords. The bluesy lick he plays in the chorus (on the 1st and 2nd strings) appears later in the tune to fill holes between vocal lines during the verses. The rhythm chops are on these chords: Words and Music by Chuck Berry Moderate rock Guitar intro years eyes Ceprtan © 1988 by Ae Mi Co, nwrrvona Copy Seanad aad n USA. TAL Rigs Ratones 92all dressed up like a down - town Christ - mas tree, and the fam - ous — sing- ers sang and bowed danc-in’ and = hum-min''a rock When the star Per - formed she screamed. mel - 0 - dy. She's the yelled. “hoo - ray. Ten dough - ter of __ a well - re - spect - ed man thous - and eyes_ were watch-ing him leave the _floor.how to judge and un -_— der - stand, tongues. were scream - in’, “More,— morel” since eee 'N’ a-bout fif - mu - sic fan. out - side the door. Chorus lit-te rock and roll it - tle rock lit-tle rock and roll lit - tle rockher dad-dy don’t have to. scold__ sweet lit-tle rock and roll part-nercain't hard - ly hold her. nev-er gets an y_ old- sweet lit -tle rock —_and_ roll sweet little rock and roll ‘. —~ c S 2nd time, repeat 2nd Chorus and fade sweet lit-tle rock and _ roll sweet lit-tle rock _and roll _— Guitar Soloon D.S. & (2nd verse and Chorus) and fadeGUITAR BOOGIE This is a twelve-bar blues; Berry solos for four bars, then plays a repetitious eight-bar “head” with the band. Each four-bar solo features a Berry idea ranging from his typical riffs to MARY HAD A LITTLE LAMB and beyond. The ninth chord includes an extra bass note: co ae by chek Bory Bright shuffle G i) Copy © 1088 by Ae Mas Cor, Inrnsont Copy Seared” Mastin USA. TAL Rapes Reser 879qSCHOOL DAY (Ring! Ring! Goes The Bell) Written by Berry at the age of thirty in a black hotel in downtown St. Louis, the song spoke clearly to Ameri- can teenagers of their daily frustrations and hailed rock and roll as the great liberator. ‘The guitar clearly mimics the vocal line during the verses. Words and Music by Chuck Berry Shuffle beat D+ a 5 school. The teach -er is teach-in’ the gold - en (3.) round, you fi -nal-ly lay your bur - den ooyrght 1987 by Ae Must Core, Somes yao Mane fre USA ‘ign ease be US Acne by he Mase Co, nerve Copy Sood Maem SA. Ar Ris Rasa o13 3 A- mer - i - can his -t'ry and prac Close up your books, get out - a your em’ hard, ‘n’ 3 3 Work - ‘in’ your fin- gers right down’ to Up— to the cor-ner and ‘round_ cI I 3 and the guy right to —3—, 90 hop - in’ the halls and in - to. theThe cook in You've got - ta 5 You're 2. Ring, ring, 4, Drop the coin’ right = goes 3 the in- to the the lunch room's read - y to hear some-thing that’s real 3 3 You're luck-y you can With the one you love you're all —3— y 3 finda mak-in’ ro- for -tu-nate if you have time to day long you've been want-in’ to3 L—3—4 3 Back in the class - room, o - pen your Feel - in’ the mu-sic from head to To Code 3 =i 3 3 Gee, but the teach- er don’t know how mean she ‘round and ‘round and ‘round you (to 3rd and 4th verse) Te I 3 3 3. Soon as three 0- clock rolls 9495 D.S. (4th verse) al Coda oT 36 Mg os TI De-liv-er me from the days of 34 S 5 34 live rock ‘n’ roll; the beat of the drums, loud and zz Rock, rock, rock ‘n’ roll; 3 the feelin’ is there, bod“y and soul. 35 96