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    65 views58 pages

    Guitar For The Practicing Musician 1992 01

    Uploaded by

    Bonny Briones

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 58
    TABLATURE EXPLANATION ‘TABLATURE: A oie stat hat graphically represents the guitar Gerba wine wp ne rexeg the ges sourtng suey (on By placing a number on the appropriate tne, the string and et of any ‘rate can be indicated. The number 0 repracents an open sving. Sanya aati Ceca Definitions tor Special Guitar Notation Ea ae phaieeames semen == a JINR 82 GUTH 83 EEE» Nov aicoont ‘THROUGH THE NEVER This uptempo crusher foatures a heavy main ick and many time signa lure shifts between doube time and half time. The ogering lick in Fim, moves bbotwoen the #7 (E), the root (FH) and the ‘ith (CE), similar in'shape and syncepa~ tion to “Master of Puppets." The Ai is then changed sighily by incorporating the #5 (C), accerting the trtone, ana in bars fOUr and eight, the $9 1s scunced with the G5 chord, both intervals beng constants mn the thrasn vocabulary. The {coublestop sin the last bar before the fist verse is made up of fourhs ang maxes reference to © Phnygian EF GAB.CD), selling up the kay change to E minor. In bar four of the verse sec- lions, 116 rf played n sage roles using the higher nate, making reference to E Locran EF GABLCO}. The ntro fit ig repeated for the fourbar section before the chorus. eslablishing the re ‘um to the Koy of F# mor. The guitar soo bagins with = key change fo B manor, used forthe fist 16 bars of the e0'0. For this section, Kirk Hammett bases his Ines an 8 Peniaton ie minor (BO.EFFA), stckne io the box" form in bot" XX anc Vil postions. The next four-bar section shifts to A mi fot, with Kirk using A Pentaione minor (A,C.0.6.G), folowed by a retun to FF ‘inoe and the use of Fh Pentatonic mi nor (FLAB,CHE). Kir’s playing overall fon this tune locuses less on speed and mate on the soiciy ofthe lines, rhythm cally and melogicaty, recaling at tires fealy vinvmy Page DON'T CRY The song opens wih & series of | positon chords whch are arpegolated Insxteonen notes, primarly, For the frst, verse and chorus, two guitars (Girs. 1 & Ii play similar arpegaiatons, comple menting e8ch other wth differnt pat tems here and there. At the second verge, there avo hioo guar parts nota ed Gtr. in slashes, Gir Il as a boxed fue, and Gtr. Im notes and tab. At 212 of tho second chorus, Gir. IV en fers, playing heavily distored power chords ‘or three bars, moving into the guitar sob. Siash's solo Is based on A Pentatonic minor (A,C.D.E.G) in bars 1- 5, and his los ara moderately slow ang vely melodic. His touch is also very sol id and the vibratos are wide and feet. in Dar twee, he throws in an F ociave, making reference to the F chord charge in bar 6, he follows the pro: gression more closely by playing an & ftiad (E,G4,8) and an F triad (FAC), working back into A Pentaionic minor. The lest two bars of tho solo (the 'ast bar Cf the solo section and the frst bar of the third verse) feature great feadback achioved wth massive distorton and Close proximity te the amps. This verse features two rhythm guitare playing sim: Jar arpeggiations, written out in ther ene tirely. 9 the final chorus, Slash adds some tis which are again based on A Pertatonie minor, making relerence to C Pentatonic_ major (C.0.6.G.A) in bar 6 ‘over the © chord; notice that the two ‘scales are made up of the same notes, but in different order. The song ends ‘with a banje-like rif based on C mejor (CDEFGAB). ‘SHOUT AT THE DEVIL This classic song opens with double stops played against an open A pedal, Incorporating an A Pontatoniermncr (CDE) lick in bars 10 and 12. No- fice that the Iwo guitars play the tick sighlly aiterently, win Girl sounding an arifciel harmonic on the Coote, This fhythm partis elzo used for tha chorus. The thythm paris in his song are prix marily made up of root-ith chords, with Dertialy arpeggiated chords used for the las! bar ofthe verse sections. Keep in mind that the guitars anc baes are Tuned down ono whole step, but the lranseription is watten asf the miu merts were tuned normaly, for reacab liye sake, Mick Mars’ gutar solo is, played over E, and he throws in one Heshy lick that’@ executed by tiling be: ween 8 and Don the B sting, 12h and 46th frets, while quickly puling and re: leasing the string behind tne fretted po- sition with the right hand, similar to the technique Jimmy Page uses on "Heart: breaker," where he pulls on the sting behing the nut 1 WANT YOU BACK ‘The song isin the key of AP, common in Gospe! music, ana trroughout the en: tre song, Gtr. I (ight channel) strums an {Ab octave in shitting *6ih-note syncona: tions, In thio transcripton, the fest four bars ofthe Into piano part (left channel) have been arranged for guitar (Gtr. 1) fon the second four bars, this lick is played on guitar (tr lil, ight channe!), Using single notes only, at which point lanctner guitar adds funky but soulful doublestap licks and chords (iustrated ‘8 Gir. I, fot channel). At 0:21, Grr. ti inwoduces a bass-like nif that is essen~ lially the theme of the subsequent chotus part, and the arrangement now 8245 up the Svucture of moving between wo and three rhythm guitar parts, which are weaved topether. Study the diferent Syneopatiors of each separste part carefuly to see how each works Unto ‘ter are Fy connection with the athe. On the second verse, Gtt. Il improvises cn the rhythmic ideas set up in the fist Verse, creating other rhythms and 2c: Denis At the brdge (1:55), this qutar plays a beauilu’ par that encompasses: fhe essence of /&b/soul shythm guitar, Utlizing Ab, Gm, Eb and D> voicings, All inal, studying this song wil provide a (gteat lesson in rythm guitar end the layering of guitar parts. The bass Ine is Juling, 200. And, it goes without saying that the vocals’ are incredible. All te paris are included in thi transcription. FROM THE BEGINNING This beautiful piece fectures, great performaness trom Greg Lake on faccusiic and electric cuitars, bass and Vocals. The cong begns In free tine with Greg playing melodies for the fest fen seconds based on E Agolisn (E.Ft (GAB), also known as E Natural Ininor, Listen closely to the recording to hear whete Greg sceess up and slows down to suit each phrase, Al 0:24 this song enters strict time, and Greg's ‘tythm art ia filed wth unique chord vlogs which utllze suspended ‘ones, such as 9. adds, 13, sus4 ond 49.the final enord of the verse section E7euadt9, can ako be thought of as Bm7bS(eus4V/E. At the chorus, the ‘acoustic ihyinm part is doubled, and at points the two guitars pley sighty dir ft figures, all of which have Dean in- luces here. Greg's guitar soio is based primarily on A Pentatonic minor (B.C.ED.G) with brief use of the sixth (FH) ard the ninth (2), alluding to A Dari- an (AB.COEF.G) Keith Emerson's ‘teat Mood colo ts tarserined here for {guitt, and for best result in recreating Ft, use an octave pedal that wil double the lines one octave up (i will be next to limpossible to gst thet cool, percussive Moog timbre, though you can try some comaresson, sight dsiotion and ambi- tent delay, and puta lot allow end in the sound). Ket lings are based ormmarly fn A Dovan, so al Umes he alludes to A Melodic minor (AB.C.D.EFI.GH) by substituting Gt for 6. suey 2 UTA 85 EEE» Nov aicoont ‘THROUGH THE NEVER This uptempo crusher foatures a heavy main ick and many time signa lure shifts between doube time and half time. The ogering lick in Fim, moves bbotwoen the #7 (E), the root (FH) and the ‘ith (CE), similar in'shape and syncepa~ tion to “Master of Puppets." The Ai is then changed sighily by incorporating the #5 (C), accerting the trtone, ana in bars fOUr and eight, the $9 1s scunced with the G5 chord, both intervals beng constants mn the thrasn vocabulary. The {coublestop sin the last bar before the fist verse is made up of fourhs ang maxes reference to © Phnygian EF GAB.CD), selling up the kay change to E minor. In bar four of the verse sec- lions, 116 rf played n sage roles using the higher nate, making reference to E Locran EF GABLCO}. The ntro fit ig repeated for the fourbar section before the chorus. eslablishing the re ‘um to the Koy of F# mor. The guitar soo bagins with = key change fo B manor, used forthe fist 16 bars of the e0'0. For this section, Kirk Hammett bases his Ines an 8 Peniaton ie minor (BO.EFFA), stckne io the box" form in bot" XX anc Vil postions. The next four-bar section shifts to A mi fot, with Kirk using A Pentaione minor (A,C.0.6.G), folowed by a retun to FF ‘inoe and the use of Fh Pentatonic mi nor (FLAB,CHE). Kir’s playing overall fon this tune locuses less on speed and mate on the soiciy ofthe lines, rhythm cally and melogicaty, recaling at tires fealy vinvmy Page DON'T CRY The song opens wih & series of | positon chords whch are arpegolated Insxteonen notes, primarly, For the frst, verse and chorus, two guitars (Girs. 1 & Ii play similar arpegaiatons, comple menting e8ch other wth differnt pat tems here and there. At the second verge, there avo hioo guar parts nota ed Gtr. in slashes, Gir Il as a boxed fue, and Gtr. Im notes and tab. At 212 of tho second chorus, Gir. IV en fers, playing heavily distored power chords ‘or three bars, moving into the guitar sob. Siash's solo Is based on A Pentatonic minor (A,C.D.E.G) in bars 1- 5, and his los ara moderately slow ang vely melodic. His touch is also very sol id and the vibratos are wide and feet. in Dar twee, he throws in an F ociave, making reference to the F chord charge in bar 6, he follows the pro: gression more closely by playing an & ftiad (E,G4,8) and an F triad (FAC), working back into A Pentaionic minor. The lest two bars of tho solo (the 'ast bar Cf the solo section and the frst bar of the third verse) feature great feadback achioved wth massive distorton and Close proximity te the amps. This verse features two rhythm guitare playing sim: Jar arpeggiations, written out in ther ene tirely. 9 the final chorus, Slash adds some tis which are again based on A Pertatonie minor, making relerence to C Pentatonic_ major (C.0.6.G.A) in bar 6 ‘over the © chord; notice that the two ‘scales are made up of the same notes, but in different order. The song ends ‘with a banje-like rif based on C mejor (CDEFGAB). ‘SHOUT AT THE DEVIL This classic song opens with double stops played against an open A pedal, Incorporating an A Pontatoniermncr (CDE) lick in bars 10 and 12. No- fice that the Iwo guitars play the tick sighlly aiterently, win Girl sounding an arifciel harmonic on the Coote, This fhythm partis elzo used for tha chorus. The thythm paris in his song are prix marily made up of root-ith chords, with Dertialy arpeggiated chords used for the las! bar ofthe verse sections. Keep in mind that the guitars anc baes are Tuned down ono whole step, but the lranseription is watten asf the miu merts were tuned normaly, for reacab liye sake, Mick Mars’ gutar solo is, played over E, and he throws in one Heshy lick that’@ executed by tiling be: ween 8 and Don the B sting, 12h and 46th frets, while quickly puling and re: leasing the string behind tne fretted po- sition with the right hand, similar to the technique Jimmy Page uses on "Heart: breaker," where he pulls on the sting behing the nut 1 WANT YOU BACK ‘The song isin the key of AP, common in Gospe! music, ana trroughout the en: tre song, Gtr. I (ight channel) strums an {Ab octave in shitting *6ih-note syncona: tions, In thio transcripton, the fest four bars ofthe Into piano part (left channel) have been arranged for guitar (Gtr. 1) fon the second four bars, this lick is played on guitar (tr lil, ight channe!), Using single notes only, at which point lanctner guitar adds funky but soulful doublestap licks and chords (iustrated ‘8 Gir. I, fot channel). At 0:21, Grr. ti inwoduces a bass-like nif that is essen~ lially the theme of the subsequent chotus part, and the arrangement now 8245 up the Svucture of moving between wo and three rhythm guitar parts, which are weaved topether. Study the diferent Syneopatiors of each separste part carefuly to see how each works Unto ‘ter are Fy connection with the athe. On the second verse, Gtt. Il improvises cn the rhythmic ideas set up in the fist Verse, creating other rhythms and 2c: Denis At the brdge (1:55), this qutar plays a beauilu’ par that encompasses: fhe essence of /&b/soul shythm guitar, Utlizing Ab, Gm, Eb and D> voicings, All inal, studying this song wil provide a (gteat lesson in rythm guitar end the layering of guitar parts. The bass Ine is Juling, 200. And, it goes without saying that the vocals’ are incredible. All te paris are included in thi transcription. FROM THE BEGINNING This beautiful piece fectures, great performaness trom Greg Lake on faccusiic and electric cuitars, bass and Vocals. The cong begns In free tine with Greg playing melodies for the fest fen seconds based on E Agolisn (E.Ft (GAB), also known as E Natural Ininor, Listen closely to the recording to hear whete Greg sceess up and slows down to suit each phrase, Al 0:24 this song enters strict time, and Greg's ‘tythm art ia filed wth unique chord vlogs which utllze suspended ‘ones, such as 9. adds, 13, sus4 ond 49.the final enord of the verse section E7euadt9, can ako be thought of as Bm7bS(eus4V/E. At the chorus, the ‘acoustic ihyinm part is doubled, and at points the two guitars pley sighty dir ft figures, all of which have Dean in- luces here. Greg's guitar soio is based primarily on A Pentatonic minor (B.C.ED.G) with brief use of the sixth (FH) ard the ninth (2), alluding to A Dari- an (AB.COEF.G) Keith Emerson's ‘teat Mood colo ts tarserined here for {guitt, and for best result in recreating Ft, use an octave pedal that wil double the lines one octave up (i will be next to limpossible to gst thet cool, percussive Moog timbre, though you can try some comaresson, sight dsiotion and ambi- tent delay, and puta lot allow end in the sound). Ket lings are based ormmarly fn A Dovan, so al Umes he alludes to A Melodic minor (AB.C.D.EFI.GH) by substituting Gt for 6. suey 2 UTA 85 ‘Tablature Explanation Page 33 I WANT YOU BACK Saas nonsPmESDOS cesses Words and Music by The Corporation Moderate Soutd = 100 et) Ab Newsy (Fm) Abmaitic Db ab Ingo S Sel BS Bee eee tee Beg h rat (anes) € eSuns 5: rd P Sess cas tone eene epee (11 iano a. for ete) Ea eccrine ES oy News) ote mete agp 10 1) te ate comeany ne lnonutow cept Snes arenas hasrUSA Lay aso) 96 GUITAR A UARY 82 the EMG m7 (nr Aimaic 0b en aultatie ae Saeed oy be “ob ed Just bt me sel you sow Hunt ‘diipd. foe) Uh uh Rok Un- huh tan ‘UR hub an UR uh Hu JANUARY 1982.00 97 lat Verse jhe ow ‘RiP me) x i e Nees) ‘when | Gite. Pe 84. wtwant you 8 - round Those pretty fe = eal = vars me. You 38 GUITAR JANUARY 1992 New Z = Ses Doane. when Bot same ~ ont picked you from. pee aoe eeepe step t eet Se = ace kee ane Bot mom. its aaveh tao eto for met UNUARY 22 GUAR 38 07 8 » eMC Pet S cs pees ~ Be on. (ad time) Ob (end Rhy. Fe 2) bb Ci sinay BHC Bho? B Fat car bt » (Bkes, Soe)ute whew youthat 1 a 40 GUITAR JANUARY 1002 imd_DWE> Ad £ ane tne 0 Code Eye Pat pie pt ec in your brat Ohara, wes Dink. tot You ga, tut * Lat. you mo tare ‘thy. Fig. 1 (a bar ont) eft FL 4 tes) Bes? EES ok a govt _it gy ae fe 2 yy a = —s i sie | os Phe we ee 2 +t po 3 FSF FF er, SSS SS eS = (ona it) gee = = SSS As = see? = = =f . ——— Rhy FN oe waar GUAR 44 1 want you back! == rom tie tT yeah, youn yo ee ee re] eet eee a ee = (a) Amite Mat se £ => os = ————: ==: "raw wrong ftom rg. (en Rhy. Fie 3) Pe 42 GuTAh, wuss eee fa mais — : ery steet (kis voc) HOS Hee. Rege Ne oa ry . Tine ban SANUARY 1082 STAR Voce pert (4 ties) \w/Rhy. FL2 Vocal part 3 bork 4 tee) > Die ier » Ty. FN a 44 GUITAR JAN 1002 fy, 2 2 o-e er bets ee = me 55.2 25 ee pees fe piittiiehf stat Sa === “wiRtiy. Fie 4(w/improvisaton) & RET wR. Fa ‘w/Ry. Fig 1 barony) Bim? Dsieh ab / i a es wikhy, Fs a. FTX i + ow Yon aay In) Ts Pre seen you in hit arms Che hat samt 1 want you back! Spine me of Ws cost Fore “oi fete me DWC Bin a wet ¢-boatwhat Lost . & t geek : == on ow! rant you back! ‘w/Rhy,. Fil, r Fade out ta be b, = £2 ro ele Ro Fs Can ea MIO 22 GTR 48 BASS LINE FOR I WANT YOU BACK ‘As Recorded by The Jackson 5 (Pom ha tum DUAWA ROSS PRESENTS THE JACKSON Stvetonn Races) Words ana Music by The Corporation Modeate Soald = 100 To__(Pane) AP bias Egy ” Fo? a+ pb DW sbmt_B Fn? Cm? Dba Bon? Diab Ab ~ & : =—— : ace e ts Bria, TTS pa eae BEE = = : SS PR re Ope rt Bet ee i mr ey (Font) AbmTICD> Ab hw? EKA mnie cat Sued hoped ther LER Ley emenon 48 GUITAR, NUARY 82 wiG | HAT BS foyer at 1B SSS baby, eke. me one. more chunoe.nfete) Ply Fl 12g time BeOS at By fry Gay sR 182, CUTER 7 Ae EWG Fm? YC he Pe? on Bin? BAL _———— ee vase te Dia? IIB As Bic Fer RS == ‘ De DWC Bem? Eb ind cm7 Db AD ‘Bom? DIE Ab —— j ete * a] 4B GTAR NUE 62 ‘Tablature Explanation Page 33, FROM THE BEGINNING ‘As Rocorded by Emorson, Lake & Palmer (Promire atin TRLOGY/Atane Recor ie a ny rg tat ve HR. Fossey ct Be au os Modesto J= 132 ns tntne Aa 3 5 tana Ri Fig poco rt 2 oat Deas (nd Ry. Fe 1) riguon2 yi nid ae Peon, (54 GUITAR, ANUARY 62 omer opr Soars a Ist 2nd Verses “en? ean c on LM misht have boon thing Ted 2 Tity be fave changed — and “ot been 50 (eo3 Ry. Fa?) Rigs 6 Dm? = + 5 ee a, — 1 don't mean Tim tnd. aut Noe “been Such a foal Peehapether’s a thing or two — | What es ee vas done is dons — en Rky. le3) Ry. Fie 3A Rhy Bie 3 ¢ r op Fea 6 Poin of ying ed Lo ihoaiese? Reve id, T yest emt = ca 1 dee att "matte at ah 2 te 10 Coe Dm © Ant = a 1002 GUTER 5S pussy amt east vein. Fie 1 (ond Ray. la S) fa Donk et DS atcoae Dedasia, ot Deeasia cots Pet ¢ xoene esata Ant 5B GUA, LANUNAY i802 Daaao/a ie eet De Ps Erawits Gtr (Gee Moat) 3 2. evn ‘ra/Ray ie 1 (st 3 tarscnly) wi aces Gatersclo wily. Fe 2 bP Daal oe false) (eee tne reve) aces ‘ —— wine, Wedecss/ay ant Fas SANUARIC1982 GUTAR BT i stig vt) le/Ray, Fig 3 (sts barsonly) Fass c w/t. Fi. 3A c on. ose pelaa’ a Pt am? Deaaaya (atone vt) ry ‘Se tS ae beeasia Synensato wriRthy. Fig 20 tines) forge) AT ake ge ee Dalela ig “ae eee iy, AX? rie $2 Bese Deed A Amt Tees. = so ha pg pet pte ites “NUARY 18, GUTAR 5S an? asaeia sat Deaasia an? Desasia, tm. coos ant aaaala, an peasaya, wR. Ant acasia Ans hy Fel an? 60 GUITAR JANUARY ton2 BASS LINE FOR FROM THE BEGINNING ‘As Recorded by Emerson, Lake & Palmer [From he abun TRILOGY/Atantle Roos) Free tine Modesto d= 122 inte Words and Music by Greg Lake pseasia, Feameht hate bean things. Tre mised, — ete) 9 . omni ates it ate. BNUARY 12 GUTAR 6 ane sen _ mtw. i have hangs fre) Dei? amt Dicasia c on ant acta mt ata i —— 7 ri SSS 5 SSS SSS ; Se ee 7 ot ig te ba? cues pm erent weq@ucasiay (62 GUTAR, aay 180 Guitar rto e ono paaaaya ® set ce on Fags 6 Dat —~ Am badasin, amt Decayr Dm? caso bay eas Aa? _Decatia s NUARY 22 SUTAR 6S. Syn sate Ant aaa Amt Desdtia Ph 3 tes am? Decasia, ant aaaaya —— (64 GUITAR JAN 1302 ‘Tablature Explanation Page 33 THROUGH THE NEVER ‘As Recorded by Metallica (Pom te en METALLION eRe) Words and Musi by James Motto, tis Uanon a Kr Hara es, A BT ® ee a a = Ae a scot J= 188 ° ue 8 NC 5 ey 2s cottu Be — # aM et it wae and will be 2 Seeadebional bres ig Ot 181 Phe + r = a ¢ oo oe = ° a Sa Gime cre sat Remaser cron rote ce, rena Covance AROS yon AN CLR AE Die-turh-ing thoushts, ques tons pending. as abs BS NCIRS) ion ef u-man un de stoning, ry (ced ate et 45 sur = vive We tun = ger to 104 GUITAR, IANUERY 1082 sing, tum ing. throws the ner = er) AMD that i (ond Rhy. Fig 2) Rhy Pe 3 Toe (cod lf ie font es ris opsris Ors pls ES rts cs US Fis SFiS ors Hs co er was wi be ever sting, turn Ing rough the never (end hy 6.3) JARRE 182, GUTAA 105 wiRby. Fig Ney cons (ena nt ee fect BM Bas xe rs Hs Gs of mess Though the neve ie os GUT JANUARY 1392 % eS gfe 74 Ha ie fot say Fie 3 (Gt) tes es Fs a me ms sms Gree Fae a sean ee a ee B Z \ Fy NUARY 922, UTAR 107 wpb. Fie 4 (Ge 1) ts 6 Ne, Play Pies ny He 4 (G0. 1) Uns Pe Minty. Pe 4 rn09 i ae Bs one On rou the wre We mst go om tough — te nev, oe te for . ew We mut wo a ‘hough — the nev = oh Twn ony = er 406 | GUITAR JANUHRY i802 (end ht ee fst) Ss , xen yan ‘Twist - ing, tm = ing though the nav ee al te fet the oxy, Fi. 3 Eris ES FIs Bs Pts ers ES FAS OS FAS BS FAS AIL Ins ov er, Bs fas ES Hts ae [= § Whe we ws, wk for ere Tisteig, tenia toh the nev ee 1a Zt (ened half time f * « Gs. feotiring) a 2. tn te dark se pest our ees ‘ore of tat, no matter wae Gating ap tothe troops of he Beats. One aust, meaning een, ‘ ‘On our ome, third lone fom the san Vek “Twisting tuning through the never (To ana) JANUS 1862.67 109 BASS LINE FOR THROUGH THE NEVER ‘As Recorded by Metallica (From he abun METALLICA Poca) Words and htusic by James Hetfod, Lars Utich and Kine Hammett Fost Rock d= 188 es os Ne. os ro ie fl Uw ECS Ne. Es cs es AS OS ASGS ES-ES DS FS avast ie ss Me w EL, ce [se 2 — Poy tire sar ‘can ego =< wm eee tee Ss 2 eee Q ss Ne, 0 cores ny cucracmnee 0S) wrt Cc Scie gene ay Pens ye i.e 10 GUTAR AMS 182 Bs Ne. ws Doutedae fet eek iacs wis _ av ts Al chat ie foo) DS alco “ASUARY 1882,6UTR 141 4 Es FAs 85 is ES iS es HS HS ets Bs FIs ce unteesso BFS ESrIS NG BS FS FS GS ONG Ha dime feel ESF Bsns ESFis ES FAs 2 GUT INLAY 182 os NC BS csNCD ES GS.NG.D ESGSNC 2 alee fo Gone ses esr ss Bs Fis Bs is es FHS ANURRY 32 GAR 113 SHOUT AT THE DEVIL ‘As Recorded by Motley Crue (Prom te abun DECADE OF DECADENNGE/Sehte Recor) eee oes rsa eS “Tune down | step: ts Fat ees a a ee8% isseonalon satan wen - 7 ‘ponte aaah NC GNC DING NG GNC GNC psNc cE 2 tte ‘Shout! Shoat! ‘Shout! ‘Sth—— Shout! Shoutl—-—ShewtlDo youthout at the dev a 5m. 7 A - a Aine NG oS NC DS NG CS NC oS NC DS NC GNC OC ez) {end Rhy. ig 1) Ah pa: Bates to Sito 14 GUT MUA ee cat 8,10 ne tare ira. tn nae oe aheamean ere creas nate Coe einen at nt arn is la Pd rm ra rt mee me eran pseu figure el Peroan oe (ead Ray. Fie 2) ViBiy. Fie 2 2b) Ds es AS cs = a ep RFR gp be ie 2 ss te fear inyour ere beentomptod by fis, HR's the Kalo in your tac he's atl Wn, ws he As cos o as +t ft F Erte £2 = lone-ty nour lve, My tess spin-nia! Youndard ound. ‘aut in te 2nd te 10 Coe bs cs as Gc. oc oa feassont of with or you sine and de-Ilv ef, beste idem womncal| iat Crone wi. Fie 1 Ke cic ops NC os NG a viper fon pa = " Shout! Shout! Shout! Shout at the dey - a! 2nd Vere ‘aiRiy. Fie 26 tines) igi ees —— a os cs as s Be ei ce os pore ptt £ EFee op 4 = = : — = = = oAUARY 82 GUAR 115 J£ fe we eeee z al in the kiss, might be an -ger on your lips, might why. Fi is é Z zt sie £ SERICEEE p sea-s008 of wth an ne stand and do vot Ne ps be trons sadiaugh and owe ‘Sout! why FS ps cs Neves = Ne cs Nc ‘Shoal Shout at the dev custo ‘el 5 uit 116 GuTAR, suaay 82 win? tn xe os aasas Ds s wwe JANUARY 1002 GUT 147 chonse oh be are SSDS, Fig. (at 2 narony play 2 te) a : Neo cs NG Ds NC cs NC song, and laugh and shout! Stout! Shout! Shout at the dor

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