a —— conrens —$—_—$—$——— 2 PLAYING GUIDE 4 CHUCK BERAY'S MUSIC. . AN INTROOUCTION 12 Almost Gown 48 Around And dround 21 Dock in The USA 26 Beourful Delloh 90 Corot 87 Guar Googe 6 I'm Taking Abour You 40 Johny B, Goode 46 Let lt Rock 50 Litie Queene 55. Mabetene 61 Memphis, Tennessee 65: No Porteulor Pioce To Go 70 Promised Lond, The 76 Rol Over, Beethoven 91 School Bay (Ring! Ring! Goes The Bef) 82 Sweet Lite Rock And Roker Gover photo by Michaei OchsALMOST GROWN Note the “descending double-stop” lick halfway through the solo (as mentioned in the Introduction). Words and Music by Chuck Be Moderate shuffle beat D7 (spoken) You know I’m al- most grown. UL__3—__u Yeah‘n‘ I’m do-in’ all right in school, __ They ain't said ! broke no (2.) Got my - self a lit - te a (Piano solo) (4. Ah, she’s real-ly out of this (5.)— But | done = mar-ried and set-tled tule, | ain't nev - er been in Dutch. __ job. Vm gon -na buy me a lit - tle car, world. When | take her to a dance, — down, Now | real- ly have a ball, ____ right © 1959 by Arc Music Corp International Copyright Secured Made in U.S.A. All Rights Reserved 123 1 don’t browse a - round too much. drive my girl in the park. 7 3 Don’t both - er me,leaveme a - she’s got - ta talk a-bout ro- mance. (us) (us) col don’t browse a-round at all. 3 An- y-way, I’m al - most grown. (we) 1 2.,3.,4. l[s. (after 4th verse) 2.1 don’t run a-round with no mob. Guitar Solo 3. (Piano solo) 4, Got my eye on a lit - tle girl.__c G D7 D.S. (5th verse) al Coc 5. You know I'm_ still liv-in’ in towcopa Piano solo G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 Berr: Bright shuffle beat 1. They say the joint was rock-in’, a - go- in’ ‘round and ‘round. Yeah, reel - in’ Copyright © 1958 by Arc Music Corp. International Copyright Secured Made in U.S.A. All Rights Reserved 16Well, they nev - er stopped rock- in’ ‘til the moon B 4g B 2. Oh, it sounds so sweet, (3.) clock; | got-ta take me a chance._ Rose out- a my well, the place was packed. Front doors was= just had = to dance. _ well, the place was packed. Fe Start-ed mov - in’ feet, When the po - lice knocked, — well, a- clap-pin’ my those doors flew Chorus B B Well the joint start-ed —ggk.in’ But they kept on a go-in’ ‘round - and a- round. Yeah, reel- in’ and arock- in’, Fe A. well, they nev - er stopped rock - in’ B (Last time, repeat Chorus and fade) (Last time) Oh, they kept on a - Guitar Solo BB D.S.%(3rd verse), repeat chorus and 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 Guitar intro Copyright © 1959 ny Arc Music Corp. International Copyrignt Securea Made in U.S.A, Al Rights Reservedwell, oh_—swell,_ fel == so good _ to- day. . (Piano Solo) 5, for a drive - in, search-in’ for a cor-ner ca- fé, We just touched ground _ where ham - burg- ers siz - zle in-ter- nat - ‘nal run Jet- pro- op-en grill, night and Yeah, and a =pelled back home from o - ver - seas to the U.S: A. juke - box jump-in’ with rec-ords like in the U.S. 2. New York, Los An - ge - les, oh, how | yearned for _you.. 4. Did '|_—s miss the sky-scrap-ers, did 1 miss the long free- 6 Well Wee so Gad tim ive ine in he 7 De - troit, Chi-ca_ - go, way? From the coast of Cal - i- for-nia to the Yes, I'm so glad Vm Chat -ta- noo-ga, Ba - ton Rouge, ~ let a- shores of the Del-a - ware Bay. You can liv- in’ in the U. Ss. A. An-y-. _ To ce (to 3rd/4th verses) lone just to be at my home back in old bet your life | did ‘til | got back to the U. thing you want, they got it righthere in the U. Guitar Solo 2. (to Guitar solo) | P 24DS. $ (Sth verse) al Coda D A 5. Look-in’ hard liv-in’ in the U.S. A _— Yes, I’m so glad Vm fade liv- in’ in the U.S. A.——_BEAUTIFUL DELILAH The countryish cut-time rhythm pattern is similar to that of MABELLENE. Brisk, steady rock beat Guitar intro al - ways gets swing - in’ like au - di - ence sweet as ap_- ple dressed in the. lat - est bath- in’ inthe look___ from pen-du - lum,_ sev-en - teen and sec -ond Copyright © 1958 by Arc Music Corp. Words and Music by Chuck B 1, Beau - ti - ful 2. Beau - ti - ful 3. Beau - ti - ful pie, style, sun, fel - las___ pass - ing by walk - in’___. down the ais no - ticed_ not a on International Copyright Secured Mado in U.S.A, All Rights Reserved 26| ss see her, she's a Deep ro - man - tic eyes, Lo - cal Ca : sa : no - va who with a diff - ‘rent guy. —_ Beat De - li - speaks so low and mild, May - be she will set- would - n't be. out _- done, __ let her steal his heart lah, that’s the rea - son why___ tle down and mar - ry af - ter a - while.} Re- bec - ca don’t a - way, ‘nt break it, just for fun. ‘low me —_ fool. a : round — with{to Guitar solcwt Solo c —s Ste c D.S.$(3rd verse) al Coda b Repeat and fadeCAROL The guitar ‘'answers back” repeating the rhythm (but not the melody) of the vocal line during the verses. Note the “sliding ninth chord” lick during the Chorus. Words and Music by Chuck Ber Bright rock beat c FQ Chorus Copyright © 1958 by Are Music International Copyright Secured Made in U.S.A. All Rights Reserved 30let_him steal your heart a - way. ge to i i night and c fade c 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,swing - in’ lit - tle joint where we can jump and tight, pat your foot, don’t let him car - ty It’s not too far back off the high - way not so Don’t let the heat o - ver-come you when the You park yo Oh, don’t th in the 0 - pen, you can walk in - trigue— you when they get 32A lit - tle lf you thank wish ma’‘am._ could.— her, you time eyes make on you the you, scene ba - you find by, the ‘cause you cu - tie takes your hat can’t dance, 1 Chorus c ‘nt know you can youlet him steal your heart na learn to dance__ if c 2nd time, repeat Chorus and takes me all___ night 34(to 2nd verse, Chorus, repeat Chorus and fade) 2. Well, if you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 Berry Moderate rock _ 1. Let me tell you ‘bout a oo 2. Let me tell you ‘bout a Guitar intro 3. Let me tell you ‘bout a 1 met her walk - in’ down a 1 tell you now, she know; she’s _— sit - tin’ right here She's so you know Got so much such Love - ly i that's why Copyright © 1961 by Arc Music Corp, International Copyright Secured Made in U.S.A. All Rights Reserved 36wish she was mine. | get shook up ev - ‘ry. time we beau - ti - ful build, she ought - a be some-where in Hol - ly asked her if she’d____prom - ise = me some - day she would be my Chorus c7 ce = 1 do Yean, | do mean___you. a ee cue, A - no - bod but you. To Coda No - bod - I'm talk- in’ ‘bout you, —_ {No - bod - y but y but mean— I'm just try'’n’ to get a mes-sage to you.——mes - sage Guitar Solo c7 t 38c D.S. (3rd verse) al Coda get a mes- sage. through.___ c7 Repeat and fadeJOHNNY B. GOODE This is one of the most popular rock songs of all time. NASA put a recording of it in a space capsule as THE example of American pop music. Biographers take note: Berry grew up on Goode Street in St. Louis: and he originally wrote “where lived a colored boy,” not “country boy.” Words and Music by Chuck Berry Do Bright rock beat » — B Guitar intro Copyright © 1958 by Arc Music Corp. International Copyright Secured Made in U.S.A, All Rights Reserved 40% a> 1, Deep down .in Lou -'si- an - a, close to New Or 2. car- ry his gui-tar in a gun-ny 3. moth-er told him, “Some-day you will be a back up in the woods a - mong the : 7 greens, — sit be - neath the tree by the - road track, _ you will be the lead - er of a —— band!_ fa ED stood a log cab - in| made of earth and = wood _ en - gin - eers would see him sit - tin’ in the shade, Man - y peo - ple com - in’ from miles a - round__lived a coun- try boy___— named John - ny B, — Goode strum- min’ with the rhy - thm that the driv - ers made, hear you play your mu - sic when the sun go. down. __ Sd F nev - er ev - er learned to read or so. well, peo - ple passed him by they would and pa May - be some day your name - ‘Il in lights,__ Bb Chorus play a gui - tar just like a - fing - in’ a bell, but that lit - the coun - try boy____— could ~—so play.1__ Go! ‘John - ny B. Goode_ to - night.’"” 42John-ny, go! John-ny, go! Go, John-ny, _go!__ John-ny, go! John-ny B. Goode. 2. He used toGuitar Solo BO 2 44BD D.S. (3rd verse) al Coda cova ' Bb Bb ED om Bb77 LET IT ROCK This workingman’s tune features a rare bottleneck guitar solo. Berry wears a slide on his ting 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: If 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 Be Guitar intro % Bb nN —— of the day,_ downin Mo-bile, Al -.a- bam-a, work-in’ on the rail-road with a 2. in the eve - nin’ 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 Copyright © 1959 by Are Music Corp, International Copyright Secures Made in U.S.A. All ights Reserved 46steel. driv - in’ ham-mer, {got - ta get some mon-ey, buy some brand new whis -tle to blow. A-sit-tin’ in a tee-pee built right on tee - pee___ down. A fore-man was a - fran-tic, ‘bout to shoes, — the track, go in - sane, try to find some-bod-y take a - way these. blues.- If she don’t roll - in’ them bones ‘til the fore-man come back.— love_ me, here I’m try'n to get the work-ers out the way of the train._ A-pick up our be-long-ings, boys- En - gi-neer blow‘n the whis-tle Bb To Coda-€- sing -in’ in the sun; pay -day com - in’ whenmy work is all done. scat- ter a - bout; we got a off-sched - ule train com-in’, two miles out. loud and long;__ can’t stop the train, they have toturn Ute eee erates eee IEE Eee ERC ee Eee eee Ere Eee EEE eee 1. rano 010 B | & 2 BD FQ 2. Well, 2. Guitar Solo ol. 44 Wd 48Bb D.S.& (3rd verse) al Code ‘cova ab it roll on. Guitar Solo ,Q vie 73 Eb9 a2 =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 Bert Moderate rock c F c Guitar intro lumps in my throat when | saw her com-in’ down the aisle got the wig-gles in my knees Copyright © 1959 by Arc Music Corp. International Copyright Secures Made in US.A. All Rights Reserved 50looked at me and sweet - ly smiled.— she is a - gain, Tell me who's the cueen,ystandin’ 0 - ver. by the rec-ord ma - chine, look - in’ like a mod-el on the cov-er of a mag - amin-ute o - ver think - in’: i: still think-in’: She's in the mood; If it’s a no, need - n’ slow song, we'll o - mit t ought -a If she'll that - ‘Il get a And if it’s 52 break it. it. dance, good, then we can she'll ad - mitmake it. Come on, Queen-ie, let's shake it. it, Come on, Queen-ie, let's get with it. lit - tle Queen-ie! lit - the Queen-ie!lit - tle Queen-ie! Guitar Solo 2. c Cc fade 54MABELLENE MABELLENE was Berry's first Chess record and first hit. Berry presented it to Leonard Chess as IDA RED, his variant ofa hillbilly tune, with a rockabilly beat. Chess suggested a “bigger beat” and (according to pianist Johnny Johnson) chose the name MABELLENE from a popular hair cream (prior to recording Berry had been a hairstylist). Notice the distorted guitar sound; Berry was playing a fat hollow-body Gibson ES-350T. Later records featured a clear- er sound with reverb added. The country-style backup — root in the bass/chord — fifth in the bass/chord — is also atypical. The opening guitar riff is based on the barred triad pattern mentioned in the Introduction. Words and Music by Chuck Berry, Russ Fratto and Alan Freed BD Brightly Chorus x Bb y - lene, why can’t__ cha be true? (Repeat previous measure.) Copyright © 1955 by Are Music Corp. Renewed by Isalee Music for the U.S.A All rights outside the U.S.A. controlled by Are Musle Corp. International Copyrignt Secures Maga in USA. All Rights Reserved1 was (2.) Cad - il mo - tor cooled You done mo - ti - vat - in’ ° lac pulled up to down, the 56 start -ed - ver the “hun - dred heat and went can't in do - in’ hill, four, — down, cha the be thingsNoth - in‘d toot - ed hun - dred Cad - il rain - wa Cad - il Ma - bel - lene got hot and when | heard Coupe de lO high > pen ed ei road.__ to rain. lead, __ ° start ton out my and my for half V - eight Pass - ing mile a the a - lac - ter lac do-in’ a - bout blow - in’ all look-in’ like it'sChorus bump - er to. bump- er, rol = lin’ knew that was do - in’ my 4 {ma caught Ma - bel - lene at the can't_ cha be You done start -ed back do - in’ the thi 58you Guitar Solo 7 A60 Bb D.S. (Chorus an 3rd verse) al Cod Repeat and fad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 Berr Moderate rock G Dm ¥ ~D for-ma -_ tion, give me 2. Help me, in - for-ma - tion, get in 3, Help me, in - for-ma ~ . tion, more than 4. Last time Voewee | Nao 2. wie | ches Copyright © 1958 by Are Musle Corp. International Copyright Securea Made in U.S.A. All Rights Reservedtryin’ here cheek get in touch__ with —_ She Mem - phis, Ten . nes - _ Her all the fun we had, _—___ But trick - led from__ her eye. Ma- G 2 o> ra - o o- = = 2 = could not leave Der coum | bey bute! know. home is on the south____ side, we were pulled a - part be . cause her mom. rie is on - (ly six years old. 62mes mile hap : through __ . To Codaeee ee eee een eee 4. (tO Guitar solo) wuuar 3010 — D.S. $ (3rd and 4t verses) al Cod Repeat and fad Ocopa pe 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 D+ G 3 3 1, Rid-in’ a-long in my au-to-mo - bile, 2. bile, 3. go, 35 m3. 3 U3 my ba- by be- side me at the wheel. '’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. Copyright @ 1984 by Arc Music Corp. International Copyright Secured Made in U.S.A. All Rights Raserved3 3 | 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, All the way home | held a grudge, 3 3 3 3 my cu - fi- os- i - ty run-nin’ wild,_— and she leaned and whis - pered in my _ ear. so we both de-cid-ed to take a stroll. for the safe - ty belt that would-n’t budge. m4 3 3 Cruis - in’ and play-in’ the ra - di - 0, Cud - dl - in’ more and driv - in’ — slow, Can you im- ag-ine the way | felt; Cruis - in’ and play-in’ the ra - di - 0, 66To Coda : cs S oo a) 3 with no par-tic- u - lar place to 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. ||? 3 Guitar Solo 3 2. Rid - in’ a-long in my au- to-mo- 4. Rid - in’ a-long in my cal - a-boose,68 No 3 D.S. (3rd and 4th verses) al Coda 3 3 par - tic - u - lar place tocon. AS Guitar SoloTHE PROMISED LAND The first and second solos start with the “barred triad” pattern mentioned in the /ntroduction, 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 Berr Fast rock left my home in Nor folk, Mir gin a can | 2, Right a - way | bought me a through train tick - et, rid - in’ 3. Work-in’ on a T - bone steak a la car - te, fly - in’ Copyright © 1964 by Arc Music Corp. International Copyright Secures Made in US.A. All Rights Resorved 70for nia on my ——mind.___ 1 ‘cross Mis - sis - sip - pi _clean.__ And o - ver to the Gold - en State, a - when the G — r 2 o ~ * 2 J ee » 2 = o T —— strad - dled that Grey-hound and rode him in - to Ral - eigh = and — | was on that Mid - night Fly - er out of Bir - ming - ham, pi - lot told us in thir - teen min- utes he would a = a - cross Car - o - line. We smok - in’ in : to New Or - leans.___ Some- set us atthe ter - mi - nal gate.stopped Char - lotte, we by bod help me — get out Swing char - i - ot, come. was a min - ute late. A - we was get to Hous - ton _—__ ‘town, There are to the ter - mi - nal zone. nine - ty miles out of At - lan - ta by sun - down, peo - ple there who care a lit - tle ‘bout me Cut = your en - gines and cool your wings and let 72e —— é eine on ok Geo, gia State: We they won't let the poor boy _—_ down. make it to the tel - e - phone.___ Los had mo - tor trou - ble that turned____—s in - to. a_ strug - gle _half Sure as you're born, they bought___ me a silk suit; they A. el 9 en ive me Nor : folk, Vir - gin - ia, Tide -left us all strand - ed ver Al; obu quer - que the prom - ised land call - in’ SS Bir = - — ming - ham, the prom- ised — land.___ on the fine. in on and a the To Coda€t Guitar Solo 74c [2 2nd Guitar Solo D.S. & (3rd verse) al Coda cova 3rd Guitar Solo esROLL OVER, BEETHOVEN 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 Ber! Bright rock Guitar intro bey (G) Copyright © 1956 by Arc Music Corp. Renewed by tsaloe Music for the U.S.A Al rights outside the US.A. controled by Are Music Corp, Intemational Copyright Secured Made in US.A. All Rights Reserved 761, Well, I’m a - write a lit - tle, let-ter I’m gon’ mail it to my lo-cal D. J. Yeah, this’s a jump-in’ lit -tle rec-ord 1 want. —— my jock-ey to play.__ Roll o - ver, Bee- tho - got -ta hearit a- gain to - day.__2. You know my temp-‘ra-ture ris - ing, the juke - box — blow-in’ a fuse._ (3.) rock - in’ pneu-mo - nia | need 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-gle like a glow - worm,dance like a spin-ning top.— My heart beat-in’ rhy-thm and my I caught the roll-in’ arth-r - i - tis. sit - tin’ step on my blue suede shoes. Hey, did-dle did-dle, I'm a- nl She got a ee you soul keep a- sing- in’ the blues. down ata rhy-thm re - view. play in’ my fid-dle, ain't no-thin’ to lose. ought - a see ‘em reel and rock, 78ver, Bee- tho - ven, tell Tchai-kow - ski the news, — ver, Bee- tho - ven,__they‘re rock -_in’ in two by two.__ ver, Bee- tho - ven, tell Tchai-kow - ski the news.__ she got a_ dime, the mu - sic won't nev-er stop.__ i (to 3rd verse) lf2. D 3. 1 got the 4. Well, if you feel it ‘n’like it, 6. You know she go get your lov - er, then reel and___ rock it; roll it 0 - ver, then move on up just a tri - fle fur-ther, then reel and rock withan-oth-er. Rollo Guitar Solo G7 ver Bee-tho - ven, — 80 dig these rhy-thm and blues. D.S. (5th and 6th verses) al Cod = (5.) Well, ear -- roll ° - ver,Bee - tho - a- roll ver, Bee thy -thm and o- blues. ver, Bee a-roll A- roll ° ° ver Bee - ver, Bee -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 a a a years old an’ sweet as eyes when the band be Copyright © 1958 by Arc Music Corp. International Copyright Secured Made in USA. All Rights Ré 82daugh thous alt dressed like a down - town — Christ - mas tree, and the fam - sing - ers sang and bowed a - way. danc-in’ and hum-min’ a rock When the star per - formed she screamec OC: She's the “hoo - ray. — Ten - ter of__ a well - spect - ed = man - and eyes_ were watch- ing leave the floor.who — taught_ her how_ to judge and un =- _— der - stand, Five thous - and tongues. were scream - in‘, “More,— more! since she___ a rock - 'N' a-bout fif - dred wait MU sic fan out - side__ the door. lit-tle rock and roll - er, sweet lit - tle rock lit -tle rock and roll - er, sweet —~ — —~ i and roll - lit - tle rock and roll - 84her dad-dydon’t have to scold___ her, sweet lit- tle rock and roll - boo = part-nercain't. hard - ly hold her. She nev-er gets an - y old sweet lit-tle rock and roll - er, sweet lit-tle rock and _roll xy — , — £ c G 2nd time, repeat 2nd Chorus and fad lit- tle rock and roll - — er. lit- tle rock and: colle el: — —, —~, Guitar SoloG D7 D.S. $ (2nd verse and Chorus) and fade 2. Should have seen 86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 att By Chuck Berry Bright shuffle G Copyright © 1968 by Arc Music Corp. International Copyrigm Secured Made in U.S.A. All Rights Reserved88Piano Solo 90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 3 in the morn-in’ and out to oad 37 The teach-er is teach-in’ the gold - en you fi - nal-ly lay your bur - den Copyright © 1957 by Arc Music Corp. Flonewed by Isalee Music for tho USA All rights outsi¢e the U.S.A. contratieg by Are Muse Corp. Internavional Copyright Secured Mace in U.S.A. All Rights Reserved L—3— 3 You'reluck-y if you can find. a With the one you love you're mak-in’ ro- 34 ——3— You're for -tu-nate if you have time __ to all day long you've been want-in’ to aT)3 C341 3 Back in the class - room, o - pen your Feel- in’ the mu-sic from head to To Codat 3 3 Gee, but the teach- er don’t know how mean she ‘round and‘round and ‘round you {to 3rd and 4th verse) 1G 3 3 3 3. Soon —as_ three 0 - clock rolls ote Guitar Solo 943— D.S. (4th verse) al Coda fete eee)3 | a De-liv-er me from thedays of old._ 34 35 3 live rock ‘n’ roll; the beat of the drums, loud anc yb n Rock, rock, rock roll; 3 the feel-in’ is there, bod-y and soul. —3> 96