OFF THE RECOR'D~

OFF THE RECORD

CONTENTS
WHITESNAKE BAD BOYS STILL OF THE NIGHT HERE I GO AGAIN SOUNDS CRYING IN THE RAIN

2 6
15 28 40

GIVE ME ALL YOUR LOVE IS THIS LOVE CHILDREN OF THE NIGHT STRAIGHT FOR THE HEART DON'T TURN AWAY

50 57 65 74 89

Copyright: Rittor Music Inc. Score arrangement and explanatory text. Translation arranged by: Rittor Music Europe Ltd. Translation by: Terry Boardman. Printed in England b : Panda Press, Haverhill Suffolk CB9 8PR

Guitar John Sykes' Style The overall sound of John Sykes' guitar on this album could be described as fairly typical of heavy metal rock guitar, but the album is full of John's own unique ideas and additions to the style. Most of the tracks on '1987' feature a massive use of distortion, either natural (amplifiers) or artificial (effects units). In his solos, John makes effective use of a whole range of distortion possibilities from hard sounds using distorted high n ,tes to gentle mild sounds which need lower notes, and he probably achieves this by judicious use of equaliser in addition to his guitar pick-ups. Appropriately used wow pedals to produce treble boost (on) and 'woman tone' (off) is another technique. What comes in handiest you will find, is a distortion unit with tone controls you can adjust for each number. From the technical point of view, one of the highlights of this album is John's use of harmonics in his solos: natural harmonics at the 5th and 7th frets, very high harmonics at the 3rd fret, and plenty of tremolo arm for the really tricky phrases. Another feature of John's style is his use of the right hand to prolong really fast trills with the left hand, and finally, there are his many tremendously fast chromatic phrases in which the notes are effortlessly made to flow together by hammering-on and pulling-off. Bass Behind the massive Whitesnake guitar sound, Neil Murray's bass might seem quite restrained in comparison, but on every track, Neil lays down the necessary solid foundation for the band's sound. The tone of Neil's bass is natural, broad and yet clear, with plenty of attack on each note, especially when finger-picking. If you use a pick, make sure it is a hard one. The bass line in most of the numbers is built round a straight forward 8 beats to the bar, but Neil provides variety by including shuffle beat triplets and tight 16 beat passages. You will need to make sure that the rhythm is tight and accurate in those places where the instru ments play in unison or in other key passages. 'Feel' is the most important thing with this kind of bass playing; without it, the bass lines just sound mechanical. On some tracks, which may mostly consist of 8 beats to the bar, you can nevertheless hear how Neil accents the beats differently and brings to each note the edge and quality suited to the particular

-----------------------------------2-----------------------------------

Some tracks feature rapid twin bass pedal work which is virtually impossible to reproduce with only a single pedal. The basic rhythm patterns and fills shouldn't present any great technical problems. He usesa lot of echo on the snare and fill-in toms which makes the sound quite difficult to replicate exactly. who used to be with 'Journey'. if you can't manage that powerful attack in the first place. The main point to watch is rock-steady timekeeping and accuracy of rhythm. on 'Still ofThe Night' (A-1). he makes powerfully sure of every sound he plays. Using the right pick attack at the right moment isvital.track. the volume is restrained during the chord solo and increased powerfully in the latter half of the track. Drums Aynsley Dunbar. This kind of bass playing calls for light and shade and differentiation precisely because it is not so technically demanding. Whatever kind of pattern he uses on this album. so be sure you use a twin bassdrumkit. no use of effects units will be able to help you out. whether it be a shuffle beat. especially in the unison phrases with the bass. ---------------------------------------3--------------------------------------- . Forexample. is the ideal hard rock drummer whose trademark is his sheer power. but with this kind of style. as they aren't very complicated. a straight 8 beat or a laid-back ballad pattern.

The strings are rapidly and subtly moved up and down (not pushed as in bending) perpendicular to the fretboard or occasionally. p. h. h. g. and lower it by letting them down again. g. you gradually raise the pitch by bending the strings up perpendicular to the fretboard. -".+p. cho. BENDING (cho. then immediately pull the finger at the higher fret rapidly away. and the tone is made to vibrate.) p.) and PULLING-OFF (p. 4. . HAMMERING-ON /I (h. 1\ . 5. - ~ p. Glissandos are slurs created by sliding the finger or fingers up or down the fretboard from fret to fret. horizontal to it.+p. but as it is difficult to distinguish between a slur and a slide. --- p./1 vib. This gives you a minimum 2 notes from one pick stroke.) Trills are produced by a rapid alternation of hammering-on and pulling-off. With this technique. h.. TRI LL (tr. ------------------------------------4------------------------------------ . 3.. 2. '--3--' '--3---' '--3--' '--~ '--3_'" To hammer-on.:3:::: cho. VIBRATO C~!b) '. '-a:::: p. '--3--' h..+g.l or ""g. A vibrato produced by the fingers without the use of the tremolo arm. .+ p. Pulling-off is the opposite of this: hold down a string at two frets and pick... you pick a string and immediately after picking. GLISSANDO (g_.~ .) g.) cho. This is sometimes called a slide. Once again a minimum of two notes is produced from one pick stroke. vib. - p.+g. h. g. we refer to them both as glissandos.Guitar Technique 1. :::::-a--' h.+p.. slam a finger onto a fret above.

Where this technique is used over a period of time in the score. the 5th string is played open and the 1st and 6th strings are not played. pick. 1 -------------------------------------5------------------------------------- . The technique is indicated in the score by an arrow: 0= 3t11~ l open string 1 2 __. Explanation & Diagram string/fret (eg) 2/5 = 2nd string 5th fret cho. THE RIGHT HAND ( ~) ! " Iv . PICK SCRATCH (Pick Scratch) Pick Scratch 11.. we have marked the beginning and end of the mute: ~ and ~ 7..) .. BRUSHING (x) Mute ••• " This produces noise and percussive effects by picking while damping the strings with the left hand. 7th.. 10.6. ~ Harm. 000 You can produce a lot of harmonics by using your finger.= 2nd string 5th fret ~ x = string not played 5 13. This technique usesthe right hand (usually the index and middle fingers) for hammering-on and pulling-off. a curved line --. HARMONICS (Harm. c. II 12.) 18.. TREMOLO (tremolo) J" 9. PICKING HARMONICS (0) o Lightly touch the harmonic points on the 5th. TREMOLO ARM (Arm.. -.. but lightly touch the 12th fret with the index finger of your right hand while using the other fingers of the right hand to pick.. The position shown uses the 2nd. and 12th frets with the fingers of your left hand. then immediately releasethem to produce the harmonics.. '\ cho. string direction ~ string (eg)1. A wavy line in the score ~ means vibrato. Using the tremolo arm to alter the pitch of a note or a chord. tremolo A tremolo on one note produced by continuous rapid picking.I cho.. TABLATURE. signifies a lowering of pitch. c) Pick Scratch This sound results when you slide the edge of the pick rapidly along the strings.) "1111 II tremolo Arm. 3rd and 4th strings at the 2nd fret.. Another way is to hold down a string as normal. 8.__ finger position fret no.. Broad picking strokes are commonly used. MUTINGorDAMPING(~) Mute Mute " I ~ ~ Mute This technique dampens the sound by resting the base of the picking hand near to the bridge thus reducing the sustain. ~"II oJp the resu Iti ng sound finger position Harm.... thumb and pick at the same time. usually from bridge to head.

~ .. ~ "'" ~~ ~ ~~j --.... Marsden Copyright© 1982 by SEA8REEZE MUSIC PUBLISHING LIMITED GUITAR: John's solo on this number is quite simply breathtaking: its phenomenal speed and perfect phrasing make it a daunting task to try and copy.. when he's . t ion C Bm E m . ~ ret-ri _ bu ---.. : ri ~I LJ CB /. The drums also power the track along by the tight exact coordination of cymbals and snare with the phrasing of the twin bass drums.zy_with the thoughtof_ __ But a man starts weep-ing.. --±--+ -- ~-----7 -- Dr : f-r-. 1~1 t Em Dr ·1-.. I in the night_~ A worn-en goes era ... Coverdale & B.... DRUMS: The drums need to be tuned down a little to provide the weight in the lower register which this track requires.L.. . .CRYING IN THE RAIN by D. Gt t! . howls __ when he's Vo It! A black. ¥- ~ r ..1 C Bm " If Em __ -:-----he's burn-ing with the fe _~ ver C Bm Em •• A stray.~.. T m U II fm ... The only way is to take it one bar at a time and drive persistently through to the end. " If Vo • ~~ ·1 ~t! lone " If ly . well synchronised with the twin bass drums.Ldog ..y g. : Sa ""'" » ~. td }. -- -... .L cat moans _~When " If I Gt t! . BASS:The bass line is built on 8 beat phrases in long 12/8 bars which you need to make the most of by steady even playing.. You can use a short delay effect for the hard distortion sound as well as long delay or reverb. td /. IIntro.. Y--- : Sa .....iTif11r-ri 6---------------------------------- . ~~-..

.'I ~ ..s: Gt l~ ..._ .. ..treat . rn W Em(onCI) ~- r- . =: .. ~ _ C D Em D Em C D Vo~~~~~~~~~~~~~ ~tJ sick and t i -red of life Gt r... ______ ~ I~ 1'" i ~._ rT'l 1 1 1 W rT1 L... t' """I Feel I'm wast .. ~_~1" g.. ~ Em Em(onD) - I r ....... 0 IGLul .-1"""'!"""-+..J rn LJ r:1 rT1 L.:..... II I""""l""" Dr : :r-r-. . If you do so.ing my time Light-ing Though I've been mis .:..... --- I r-. . j!+-:'_' .J ....J U f...... ~ L.. D Em IL . Gt I~ • (Gt.. -----------------------------------7------------------------------------- ..ed 2x ~. ...): If only one guitarist is available then omit the phrases in parentheses at this point.\5fP · ~ g. ~~...- I IGLlll r--""T"'""- ... -+-±-+ ...~ :4 P : Ba I ~ .. ed I keep 2x chc.row sweet things I have tast . take care to avoid wrong notes on open strings.~ "II IGI..I "" Vo .Em ...-'+ ----'I- ~ II D Em E m (onD) Vo ~~ JIll -----IGLlll I Em(onCI) C - 8m I -_. .... ..I" .....:..--f-B-~- ~ =11 11 11 -r--__ ~~ 1" ~ ~1_-· "---f ~i:..er deny_ 2x dream-ing All the - dreams of to mor .Il! I keep on __ I can nev .

.~-I·~1 .. ache No one feels the pain __ ( cos) " . \ 2x 2x ..... so -Iu 2x But a heart full of so r .J L... ~ g- 2x.. .. te The 2x I~~'·~• . ".-:_--••~1·~ . I Vo . I'-~: --------\ . Gt ja) can ~ dles In the wind __ com ........... row Paints a I can't seem to sep . Em .1 more 2x I 1'1 rTl Vo ~a) J Ih rr--...:. cho......J / Gt.~r~.:.I : m 111\ Ll.:_!!' ...J"~ : Sa . _ ....J f. ~ ..~ ....:... no one ev-er sees the tears _ ... cho....... .. ~ !1 r-jJ .D... rrn I 1'1 prom ise of the fu . ..I".' ~ c ...... Gt Ia) 18v':thaTm-~ ~~ ... - "/--+----/-- __±:~!t--~ . L.~..¥@ ------------------------------------8------------------------------------ .... I 11 ... No one un-d er stands hear t.J .ing back for more more --....J L..----- D/ LJ rijict. --+--+--o-!--!---l--- rn + L.J " .. r+r+t I'll ..J LLJ / .' r-M r=\ Dr " \L.......... Dr ... ...--harm_~ i~ ~ ~~~~ ---~ ~ g- • __ y .... - ..J LJ L.~- --- -- ..~I I (in G Am rTl. __ rTl ..' ~~.I " r-r-..:.. 1 1 rn fT1 LJ ~ _I.J L....... Y .... • j:I:.. AI- ~':___·"ii·_~·" ways tak-ing my chan ces On my I know where I'm go-ing There's 2x - " r--.1 pXmmm\ " \ LJ L.. ture tion no hope of ab .J.a) heart __ ~ my heart __ ) ...time Sa r : -f-- - mmm mllnm L.--- _ _L_.....S.J I I f.... a ra .~~ ~ i:" ~ ..

J Em(onD) ! rn U' c rT1 rrt U 8m .. ~ 1'"00 :::=... ...J Em(onDI) V U D _ L.' In The Rain ~ scratch pick scratch ~ ~....J rn rn L. : 1'\ .______.:..... I loJ ~~~. /) .. Ba . ft] Rain ___ Em D Em CD to c~ mg pKk r-- rm Em Em(onD) Em(onCI) C 8m Vo ~u "~ Gt __.. . bITl L..... . fT1 rn rn rn C D ---- U Em L.. ~~ ~ ~ __.J When you're Cry Ing~ In The Rain ------------------------------------9------------------------------------ .__ ~ I'" .. h..1t 1··~· T~ ~ .J L..:...J L.......:.. ••• '--'" • --... g.. . g...D D Em C D When you're Cry ing __ In The Rain When you're Cry ing_ In The g.:.~ 1---.. 1-::-1 rn ~ L:. I I ~ Dr .... Gt. ~ ... ..or z..J L.J L..

When you're Cry ing __ In Em .): Through the first half of the guitar solo lEI r the keyboard should provide a solid middle register backing which you can gradually build up to its own climax in the second half. 'h.. Go for clear phrasing. h. Use a short delay here too. ~o: ~o: 7i. fTl ..--------------- . 8va IGt. Sa ~ ~ -. . ¥v \ : Sa..-III _""t:T... JlV IGt. L~· - IOrganl __ C 0". n..J:fj rri rn rri L. h.:y:'_____- : Sa '-' 0 "-"--i ~~ ~ ~ -=- ~ Dr ·1 .. h.. .. cho.... ~ .. 6:::i:6:d ~ '~ . ~~ r--""1 I ~ ~~ .I /l : I === II rrirn rrirr. ):. u. h.._.. h..UI ~._. ~ft_ }c.:.h. II. h. h._.> i U LJ I 0 LJ D '/1111 D [EJ Vo .._ _. . "cha_ t. ~"" : -b'V. II..ul ~ h. ~o . h. II. h. No No l. Take care over your picking in this bar..- ...U~ U r-= Am V V rn rn rri rr. ~ >-1 I I Dr.. until you're on top of each one.:A i_J!:. 8 ~ .... u:_ •. f l) " Em ~ » >fT1.-1 . nl h.. . ~A Ai.--. :::::-=-. h. b.. n.. II. IGt. 1:.t. h.. ". h.1AII Vo • ..- Y37· • ~V.. h. II.. h...! ~ ~.. "_!_ _ ... r: xv 10:Yl 1v )fv •.. I : ------IGt... one bar at a time.»: IGtul IIV V Gt It.... o. .fTl ITl fTl rrl U I --~ J Lk 1 o 0 1 ~ -0 T Itt tt ' 1. nl lIV . ::::::: ~_x L__8- __. h.. : 11 W ok ok } ~3~ r3. h.. ~V.....----~ .£fj rn LJ U~ U U~ D Vo \o! 1111 .-------..! /l II Gt o! ~..... ---------------------------------10---------------------------------- .D ...rn U [T1..c IGt.): Fatten out the sound by applying short delay here. ~V. r\ ~.. t:!:::I:::t::t:l~ ... (Ct. h_ h. y . so pay careful attention to the rhythm. L.. D Em v C D V 'i~ • to! II II I The o Rain No Gt o! . ')c_!. (Kb.): The high speed solo builds up from this point on... I f) (Gt. I h h. ~V. .A r--.~:---h-- Dr : 1Il rn."v IGt...: ~ . ... h...1I1 cho.0 -b'cb~.. cho.

-..rrl !$Ofi-° -Ir -Ir u· ICLrrl!$-o ~t:J -b'cr ~.. ~ch~ ch~.. II II T. h !:t f chp... ~ __-&' !f:~o!J. LJ 7~ LJ LJ 76::::Y:::if:1 . Em o ~.._p..---...... ..o\ -' ICt._j (Ba.-~ jJ.!)cr h.o.o.r1.. ----- h. ...::::... 3~ !0.. but its role of supporting the soaring guitar isvital to hold the music together. .......I" II C oS' __________ 0 Em Vo \0) --t~ ICtrrl'h. JL-. ~ cr..n ..): The bass rhythm is simple enough here... 7~ - ~ ~ .. ~J : Ba Dr ·1 : fTl fT1 fT1... ~... fT1.. = ICt.. If you have only one bass drum then try and get as close as you can to the sound of two.. ~ eI..... :::::..:::.-.. ~ ch. Make sure you've really got the feel of the two bass drums as Aynsley Dunbar plays them here. cho. 1:. _. ICt.): Really tight coordination with the bass is vital here.. Make every note and accent count.. 1:-.. --fl-- ......... n.'Jcr \ Gt 0) !l___!!_.... h.___ h.-G..·rrl I II .----. Gt oJ 6 -Il cr.---. h. c"'--- : Ba ~ ... ~ cr. ~ ..r: ICLrrJ! " II /1'.. _. ~ ~~..rrl I~_~ -_y. ~ r---I""""'l ~ r--'"""'I .0) ...:_. 7~ m fTl fT1. o ------------------------------------11------------------------------------ (Dr.. ~ .+p. h.!)o: ~cr r.---.. o ..--..:... . ~ ~ h.. II..'-- Vo . fT1..

6 6 ... ~ I ~ t: h..--~V3c tGLUI -----------------------------------12----------------------------------- .. Ba.... Gt r..:):.r-. Ba'~~~_. 8va .t .. t5~5 l::-±i:. tt- . the rest will fall apart....t) II Am .... .): If you don't get smartly onto the first beat here..II-. 8va p.1.. e e >- I Dr.. p..c Vo " ~tJ ·1 I I Am e' ~ ~ tGt..+p.·ul / i 8va " Ii .~~6~~6 Dr·~~~~~~~·~=~··-~=~·J... 1 := i ..11- _._-- 'iMiir~cRMMfr Am Em Gt. .. : i "/ .. ~ h..:!-!: .II-~ . : Sa ._._._ 6 .. 1'1 1 _~: i ..~~. +_ .. ...:... p.. ~ T . so make sure of your timekeeping as you approach this point.+p.. .o-' 3 h .~_Ir..----... t::::Io-' . _±_ n . h. 1.~ .. h. ._. " II _.~.t-.+p. 6 I Gt tJ 6 6 ------tI- : . I'i 1 :J 1 b::::f:::l::::f Em n Vo .. 1\ .~~~-------~~~ G (Dr.. ~ tGLul . so practise by building up the tempo from half speed..~ ~~1 -~~~~--~ m~tr.&va _ 6 p.1 tGLUI C '"1"". ..+p. h.r"1 .~._~~=~~~~==-~:. j . You might find the snare/ride cymbal coordination tricky here.... .1 'I ~ "1 1\ . rs-: 6"_"'" h..6 c:.• ~ D " .+p... I I tGLUt r-..... ~._~ .1!. Dr •• : . I 6_!.

II ~ -8} 1 -~!. but this is the climax.. _. .~ i--"~' . ~ ~r I ~0~ Ba... I~ fro ~fr • ~ g.. ~~~ u . D . +-- G (Kb.J Em D Em Vo " .. __..I " ..... . ~~~. " "I -"I " 1\ "I ...T -.. I ... - r--'i I ~ .. fro IGt..1 : C D I h ~ _~I Gt oJ ~~~.): The same organ-type voice as throughout lEI.. . • c D Gt. -...~ " Em D Em I bJ C I D -~ I b. Ba. I : {J 1\ .): This is the drummer's shine..J I' >- ~ ~ L.nl 1.... so really brighten up the tone here. u '-...:.: .......8m c Vo... (Dr. ~ cJ' Dr......~ L___(i) I .. D Em ~ I : ... so give it all you've got! o moment to ---------------------------------13--------------------------------- . f"1* f .r-t:B ~0. -- ... :U". Vo ~- ~~- ~. <::» --"-'f-- .... lEIand IE could use different kinds of organ voice. fT1 ~ L.

.. 0) r----"""1 I ___... .l .-1 ~ :> II rT1 U~ " . c-c i"'T"i • •••• Cry-ing In The ... ~ I II ~ r-T'""'1 Ii"""1 f' W L.___ • ...__ I~ h'i-111 rn ~rn ~ ... '(j - r----"""1 !'.. :i'I: JU : rn rn 1\ I ~I---r-n Em r-. Rain c 0 Em u C 0 LJ U ~0~ .\ --- Dr : f""'7"1~ ~ L..oJ I _' !'.J f' L.. U' f':') u' : Ba ..~ When you're ._ ~ 3.-_ ....._r---""""I ":'\ 1--!'.J t- I-71 ~ ~_&----!'.0) _ .J U' V Vo ... Gt ~ ~~ : . The ...I" .. • When you're Cry J:. Rain __ Cry r D mg Bl II In The Rain " .' • :> pick scratch " pick scratch Ba.\ ~~ f. I Gt ttl ~~1· •• ••··1~~~1~ : ~ • ~ -....\ . ___ V U.l "!~ ~=:.~' I Ba -' Dr : " .S. C 0 * 1- 1- 1- * I ..o ..:.I " Em Vo ~o) ~ : Ii" • i I: I " ... ing __ _.. Dr...\ ~ 1_ .0' ___.. D. : t " ~Coda Vo '1'= 0 ** t ** "!~ I . 0 .. " ...\ r Cry P E [J I J ing In The __ Rain rt-. * Em 1- * Em J L...\ !'..... ~.:.. 0) . L... • In -.\ .-.... ~O{ _.. !'..~ I' gg.J - ~I _ "p i ~ II ~ -----------------------------------14----------------------------------- . ._. i ~· ~ -G-------- j tjar -tOrgant____j • c Gt ~ : f'-..:..

Gt... BASS:Neil's bass.1 Va I"" 1'~ Em D D( on en - D Em D D( on el) D I 0 Em . \ Gt.1 ~ (. = mute) I . (..• ~ ~ • g. because of them.BAD BOYS by D. so listen carefully to the record or tape to pick up on the way he does it. Coverdale & J.- tt B m ( on e) - e I - I I " . well down in the low register. & WHITESNAKE MUSIC LTD GUITAR: The whole track has a fast driving hard sound centred on the opening riff. III.. #. ~- . and phrasing tight and clear. although here and there Neil changes the way he tackles those 8 beats. " I~ ---~ - ~ -~ Sa I' Dr ==i : ~ I ~ t: d ~ . 1 or Gt. admirably supports the lead guitar in mostly 8 beats to the bar. ~~~~ . Sykes Copyright'C'1987 by WHITESNAKE MUSICIOVERSEAS) LTD.____ 1----9 -~ \ -". and b) alternate picking of open strings. = mute) .' <: j. ~. To reproduce this as closely as possible.·' .'-'4.- I • ~~~l _... II provide a solid enough support for Gt.J (Ct) : The guitarist needs to pay attention to a) the rhythm and timing during the guitaronly intro. you will need to keep your picking really accurate. o -------------------------------------15----------------------------------------------- . DRUMS: The power of the 8 beat pattern is greatly boosted by the twin bass drums. players with only one bass drum can try using two pedals.... IIntro.. Make sure also that Gt._ .. . Despite the speed and hard distortion or rather. -- . "" •• '\ .

•......•. _ ~ I g...... .{sf-41 ------------------------------------16------------------------------------ -·~3~~-:-:!~J:...D (onCI) D Em D D (onCI) D Em (onC) 8m C (onC) 8m C D - ' ...i:~~ . Gt. :::~~-·~k~J~-· ~.. ~1:------ 1= (onCI) D D (onC) 8m (onCI) D D ~~ __ -7]= ----::::_ -==-=1= Em ~ --- C D _: __ __ L __:__~ Em D Em D g Ba. . • ~l H-i =4¥r r r Em D (onCI) D D Em D Dr. - _ .. D··~~~ut.-II t=-- .~~~~~l~c~tit-J. <.

= mute) . ..P. .. .. -? ~. . me me I Em r---l I'm __ a Am J know see " ._. p.. Dr ·1 : f) r I '-. f-.-I I Ba . .. so make sure you pick strongly on the lead note.. . ... p... 6 -~~:J--c-n:. .. l\ ~ rI I sheep boy black street g.. ._ ~ ~ ~~ . . - g...I tJ (. .(onCI) ... .. - I g... ..S. Think in terms of 9 and you're less likely to go wrong with the rhythm.- ~.. Vo ..-I I~ Ba .~~t~ . p._.....~ p.- you you know see the back of in . .·· ~ X· .~ ~~._. Gt.J * 1 [) L... 1 ~ ~ 1- ... ......_ If* . Just .~ .. l :&2.I" Vo .. . .. .I ~. p.J * 1 1- r' I 1 I 1 LJ 1 V -----------------------------------17---------------------------------- (Ct) : Notice that here John plays 6 sextolets (groups of 6 notes). ~3~ . p.. .) : Make sure that the triplets are exactly together with the gu itar.. ~ 6 p.... tJ ~ Gt.. 6) (Dr. . 6 p: ~ ... . 1 1 ~ 1.... Gt.time) [ (2x) [ I I I) ~ ~ ~ 6:J L------------------------8~--------------------~ D = the so ...-} :J:Ji. --------- '-" Dr : 1 W (onCI) D D 1 I ~3~ . 1 L-... 8 6 6 6 6 I "\ 'Y p: 6 ~. ~ ~. . '?h:..... . but that each phrase consists of 9 notes.. ~ . . ~ . l ~ • <: '\ ~ ~....... ~ ~ II ~ Gt.tJ (Ix . . There are a lot of pull-offs here. you you D (onCI) D ... D D Em C ~~ " . g..I " . IAJIEm ..... .. '-cr.~~ vib.oo " .D..

• 1 ...._____ 1---" .J wild wild in in the the street street When 'Til the the •• sun hot goes sun D(onC) • down .. 1 I 1 1... a the II IiIk--'----._ •• . I f \ p• I • )1 * 1 1....J----fI- ~ I ~ _A/l - --+--+- ~ Gt. • .·J J -- Ba Dr : I~ 1 I 1. ~~" ~ "\ II ... rise __________ • [IDS (lx.S.. " L...J I-.... ~ .. ~ * * • I I II L.t~me ~~ ()._ 1 1.J * Am I" Vo I-...... heel of ed • .J .___....- • .J * 1 . If" " ----.._ ~ ..... • 1 .J * 1 ~ 1D. t ~\ ~ ..2. Em " .... [y ty (onCI) Em DD D D(onCI) D ~ J I'm with an' out in high .------ble en I'm~he full of talk cham of pagne the and .. steal don't a __ round care .._ r-+ I 1 t.D(onC) I_A/l Vo I~ fam ci i e J! . like what .._ ~~ ~~ <.s...J ~ d""'1 •• .. ~ ~" r""""""'" ~~~~" .. -~ ~ Gt. • " - town lies I Get get ting J /<... ------------------------------------18------------------------------------ .- r-1 1 ..2x) (D..2X . • . Gt... -""' ~ r---i I .. •• ..-J J Ba ••• * ~ I .J -..J ~ ~'---'~ ~~ . Gt. 1 . Dr L.time) . ..• " trou worn .

-~ I . The bass needs to be particularly hard and forceful at this point to match the drummer's 8 beat rhythm. o -----------------------------------19----------------------------------- .=mU=t -~ Run run g Em D c D G Em C ~ un dcr COy er of Iight_ Had Had Boys ---~ " I . / o fEu (Ba. so make the most of each beat and play the whole section with a laid-back feel.. ~ Gt.f~· ~~~~~~~~ -d=Q._~._--=Y::.) : Staccato.~~~§·~··±i~~~_tr~r~.B A VO·.~r~~~{~·f~t~·~~·~~..=:± r"""1 Dr·(W -. (Ct) : It's vital that this phrase be picked up cleanly.~ .-II -..I:. together with the guitar.

g._ 0~ Sa . .. .. t! Gt_-I I =-. --f"""'t- -=:±=~ ----- .._-- . +t': Sa ~ ~ .._i!t' .. 11 ~ -·0 . 1 W 1 ~ - n--::I ~ M ~ Ft?+r t in ---"'--&---= D(onCI) Va D Em Bm(onC) C " ~t! D(onCI) --_. • in the ci . ---+--:~.- . .~ <. in the tO~l. '~=w=- 1 tC----:l ----------------------------------20----------------------------------- .---Wdd - -- ty " 10 Gt_..~ Q CI/ . .n.....i fI. -+-t- = Dr : * .9 t-'-6!----' 9 '\ -.r:I-. Em D (onCI) D D 1\ r"-t:::I r--.. ..- I t! .c~ . -. Ii -----"---'-'~ -~ '-'" h. ... -"U! Gt...... 't__ . : 1 I •..._.1 Ii . . . ~ h o· .. '" -'---I-'" . ~~ . I ._. I 2...... ...._. Get wild __ street wild .._. .....C "I" Va ... ~ •• _..1 ~ ~ -~~ -- -- +-+::. ty lbl . .1Ll! ~. r--. .. ...---.._._. . ..' ..1 Dr .... ---C .. ._../ " 0 0 - GtA I t! ~Q CI/ D..... Cl _. ~~~~ " 10 I g.I t! . .!L_~ ...t! 10 " D • t ing • ... . ---".. .. -( 8va)---> . . • the . ~~~~ .__~ ....... -. • ... ....... g..1 LJ ..~'">l:: ~'\ /... I ~6~~ ~ ~6-J l Ii--- - ~~ --a---a-. _._..--I --... ll* . -&.

. Dr * ur. There are more picked than hammered-on/pulled-off phrases.~. ()=Over ( Du~ng chao chao I ~o.t= u-r- ._ ~ '-- ~ Dr ·r-.. Each beat is beautifully phrased. / Sa --1 1 .. .6 ~~ ~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ ----{8va J'L1I ~o ~~ ---0 0 J -. -----------------------------------21----------------------------------- (Ct.II. 0 IIcho. so take care to avoid wrong notes.. i..- 1---- ... /I Ii --:. b::j - ~ b::j . ~ ----y- ...:::::==:::: H: Wild ___ in the ci ty -~--~-----~---- [IDFlm E ~-- m the c i ty " If r--. fW--aJ Gt.. 1 LJ 1 ~ 1 1 ~ r.) : A second guitarist can play the overdubbed solo here.aJ " Ii Gt. 1'> ._ 1 I.-I I - clio. J I 1 r.. I: I-. 1 I ri=l ~ ~ 1 . ~~ p._ 1 I /I II Flm A Vo .- I~ ~~~~ ~~~---------/ I I. -~ -. o : ...)I In fr" ~ 1I • i'r"".. " II II cho.- . : 1 .... .. chao t... ._~ p. -0. chao eho. so make sure your rhythm doesn't lose its flow. .... a .D(onCI) . ._ 11 I I .I u h.. a Vo \aJ "-~I ... 1 = I:d . '-" ri Gt.. ~ alia u Gt..-I I ~D "0... ~~ J~~~J~ cho..... ..... 1 I cE: ~ P II p. -J -J -3~ Sa .. ...-~ ~ """'"'"= o-:» .---.

~~ . •1"-. c!... ~ .1~: e'~:g~=. -- -- Ba .. : -.. r " ~tJ +- --. - [- -- Dr 1 I ri~l ~) 1 ~ I. tr tr tr ~ _tr --llr_ . -:--. Gt. -------l ~ ---..~~~ :. Gt.----- J Dr 1 I l I ri~l '-----' ~.·1 I I I iI'~ I 1--- I I ..~~ A.== ___.. ~ ( )= Over Dubbing " .~~ - ~:.~---.... . tr tr '------' tr <tr -I tr fi~ tr tr tr --'. tJ (l~~ ~!l... ~ ~ f.. -~- ~ I ... cho.~.~~ '~~ ch.>.f -~- ". =--.. l! • l_l ~ -6 .f 1. -- -+------+--- '-----' r ~ g Vo ..'. . ~ I=I::I::! __ ... ::t-:: :: : :J ~ ~ t I 1 1 1 ri~l '------' 1 I 1: 1 1 I f. 1 I 1: f.. * I .~~ ~ ~ ~~ ~"- }:.Qth :> . 1 1 . ____ _ . f!l •.. r-------=_ Ba '-- -_. ~ eho. tJ Gt.o..J ~ cho...1 ~ l J -~--.. 16 - :..·I ~ ~:. ". -..--.tJ A Flm " . l! • ""~9 ..f-II-- ------. I I I cho.·I ~ ~:.'/"I! Vo . FI m -- ~ ~- - A I - ~ " II Gt. l ...jI ~I"-l!. ! ------------------------------22---------------------------- ..·1I 10... - )~~ .~ ~...__.. .

1 Vo " ~tJ F -- - I - -~ " 01 Gt.. Ba ".. _'_. I -----------------------------------------------------23----------------------------------------------------- .._ 13~~t --IJ~ "..-. ~~f~ chao chao (1) IGLm! -e------- r-..~~ cho. 1 . ..._--- . /..---- '- ----+- ~.. ...._ • ...\ -t-t- r-... -. ~+ _g.-- 5-- -5- --...-(1-' .. .'-... .. 1+.. .. ~ ._- --+ .L ~i .-=t------t-- ~... Gt. ~~ ~ "" J~~! IMfi -IJ~ .. . ~f'_ cho.---!. clio.. :i:.-I I - - • _f.....-- . • .· I -:i:. f--- ~.··L t IGLm: -( ~ 8"a)1 ( )= Over Dubbing -I5k--tJ " I 11::.. I I Gt.\ . . -3-- -4-- '------"' Dr : k ! 1 t... . .._. l LJ 1 II l "I 1 D } r 1 .-:j-. '--~ '-~ --~- :J-. .::::___ -..-3::.---. k I ..~ r_:O-~ - 7----+-- -- " tJ If ..tJ " tJ --.~--+ 1 ~ . ... ~IY~ -'V~ "- -1:7 '------"' Ba ~.. .... ~ Gt... l- * :t 1 I 1 /.- I tJ ~~-~!.. 3 ~ -_ ....._ »< • . . cho.... L I -.. 1 r k ri===l I G -+ .._ .... ""3 h. <.~~ . .. 1 I .A ~ Jl i! F[fJ Vo .. .... Dr : k I ... ~ h.._. 1 - 1 ~ 1 LJ 1 ~ 11 II '- 1 I 1 /. ~ F --+--- 1 /.·1 I /'r ~ /'r -r>..---" ~~ ..

'...-._... t f.~ .~'- ~~ I I I I I I I ~ ._ C -t in the ci ty •• " ~-S- [Q]Em (onCI) DOD o (onct) 0 (onC) 8m Vo ~-...All ~ -0."11 Vo F G ~ Bad _.. "'I - L. . ...._ u: I' 0.. C ~Coda1. . ... J . ! '- t-- .. 1:/ / / I / I / -. / n - __ ~~}1" • ~~ ~ i~-'-.Q.I " Gt_.. no Gt.___.v v I ('I ~8va ~ . ._..____.~ I'~ ':= Ba . g...... .I ~ .~~...-I I ..v v . -"""""'- .II I~ '0. ...J:::j I h. .\ sr>: vI . .. 1 . .. : 1 === === === - 0' '\ ==-=="""""""'- I ----------------------------24-------------------------------- ... r--. : ~'---" . L LJ Dr 1 ~ r-""'1 f. ~~~~~ ----'V _____ ----. cho ... ----------- Ba or.. I t 1I :> I I I D..· I~ --.l. ~O(onC) _il_jt __.-------. . I "--'" h. /' :.. " o· '\' n . ....... . 1 I ....~ . .___.. X h.. i I " ~ Gt.S... ~ . Bad ~~ _i111 Gt.

......".. .. ~~~~ e-" ~ ..... .._ ~ p.. ~. -oJ Gt. . =-'I .. ~ ...... ~ ing 'til • _.."'.. g... '" '0 ""./ Do Do -~ Sa . -tHad G like thief in the night __ !lad " II .'V "1I~o~o/ v ~ ~ :J. ~ ~. Vl .. " +Coda2....-I I \' ..0.2... ~~l I f... I ITl LLJ :> > :> :b ~ o- } r--ES ~ ~8~ nS ~ Dr ~1 1 D.round ..."._..".. . . . ~#~ -....."". 1 I 1 f 1 I 1 ~ L1 I ~ 1 U 1 ~ 1 I 1 f. - .. --(8va)~ vib. ..... 111 I f. I g....- I I oJ ~tJp.. I .. -t ....'-------. cho.-I I - - --- -- -~: Sa I -~- 7.. .I ~-4 v ~jj~" ~ .. . .Vo " . ... Vo . ' . ..... ~ ~ ". g... p... '" _l - .....~.:Dr -. c- ._ •. ·1 : "I ..-:. .."'T cho. ' """"'" . flthe break of • day o . . p. .S.. '" . : 1 I 1 f 1 U 1 f../ n 0. ~1-" =--: ~ ~ 1"""'1""" . ...... ~3~ ~3~ -. Gt..~ c Em 0 (on Cl) 0 0 o o (on Cl) 0 Em (onC) Bm C " II . . I ~3~ I " oJ Gt. .I" II " ~ . I I ----------------------------------25----------------------------------- .. ~ Gt...J~" ...oJ I steal a ._. p._A Dane A B . . _.~.JtJ1!"' .. ~ a . r'~ ---. .".. . ...... .... . 3~ .

g.I" ~ Vo . g..... ~ Gt... I I • I ~ ~ ~ ... c D c________ -t • "t~ "t "t "t • . I I - Dr 1 1 ~ !! ~ {.-.J D "t •• • • •• G Em Bad Boys __ c Boys Run ing un der coy ... 1"'"'1 L ~ g.. g.. .. r-.i .. c- I C I- U I C I 1 11 .. ._ f..____--~ i. g. g. ---...llilEm .. II . 1.-.. r- =-. ~ .._.. . I g.. g..1. 1- ! j) Dr : 1!!1 ~ f.-I I ---------. g.D.....I l-" W .... ~ I I:::1. ...----~ V h. . g. '-..11 Va •• -t'---. G Bad Em • a· ..___ _ .....0.. ~ :i: ...~ in the street Boys Run " II r-. ~ Ba I ..1 I " II ~ ~ I g.. g. g. '-" h..· I ~ ~ ...J ~--.r"""1 - ~--------I ...___.--'" . ~ " I II V t""""!"'" 1. ting wild __ C "t • "t • Bad ~ Bad _. 1 c- ~L I . 11 ~ j) 1- I1 I I 1! 1 I U !!!1 () 1- LJ LJ j) ---------------------------------26---------------------------------- .... Gt.... .0.. g.·1I ~ . .. ~ rStx> -... W .. ·1 11 U ~ 11 1I ~ {._~--- j.. I t""""1 Gt.. er of! moon l ight cc. ..._..... D Get ...1 I I V ._ .. I . . g.11 .....__ f-- I I . Gt...Jr.. g.Bad ~ r--. .. ....~ .. ._____. LJ () "t--" D ..~.I ~ ~ '--------« «:f----i- --.. g... ..l ~~n---" g.. . g. 1"""1 Ba .......

D c D G Em c D Am Am c D Am 8 (Dr. -----------------------------------27---------------------------------- . The ride/snare pattern used here often recurs.) : Payattention to the volume balance during the 16th note twin bass phrases. 50 commit it to memory.

f-Gt. ing me what's In store (An') hide my face from Lc. . Coverdale Copynght([... II .l ~1_~~1~· ~ : '---'V~ '--.the sun _ _ In the My heart Thru the Still Of The Night I feci my heart beat-ing hea-vy start ach-ing My bo.. expecially the way the bass drum locks into the bass guitar. "" Vo \~ it EFm E FIm E FI m A".j In the : Sa .round-your door Tell . "I r+ ~ } * . 1-° ".::l 3 Gt loJ 11: 1---. so the important thing is to listen a lot and get to know the guitar part inside out before you start to make it your own.~time) heat of the day_l I hear toe wolfhowl_ho-ney I see the full __ moon rise hang my head down low_ Sniffing a . but the rest of the track shows how powerful drumming can still be with one. T } f fi Cd (lx) Still Of The Night (2xJ shad-ow of night It(~..dy start a shak . --------------------------------28--------------------------------- . ing An' I light of the day Un-til the evening time I'm .. <. and yet the sound must be incisive and dynamic.V -- L1 'V . He uses twin bass drums only at the end. This is a long complex number in which the guitarist uses a great variety of riffs and picking styles. Sykes WHITESNAKE MUSIC!OVERSEASI LTD & WHITESNAKE MUSIC lID.= ___ - "I Dr : I fi'--1 1~} I::::d * } * } I 'rn---~'7' ~1 == ....) 1987 by & J.__.... especially in the unison passages with the guitar.... GU ITAR:A rich sound using hard distortion with long delay. BASS:The depth and power of the bass playing provides a solid vehicle for the track.STILL OF THE NIGHT by D. __ +---~ o· ___ .. DRUMS: Aynsley's simple but powerful 8 beat patterns hold the track together firmly. The rock solid accuracy of Neil's playing during the more flowing guitar passages is especially noteworthy. as is the necessary variety he brings to the bass in such a long number..

..C.... 7 ~ === ~ ~ ..·~1~~$··~ Ba ---l"""'I""!'~ p.... but must be powerful. N.~ ~f~il . h... i ~~1~~1 -. ...____. Bm Vo ....!. Flm ( - ._______....- ~ 1 II 1 . U~~ p.. I I (II"!! ~C..~ ~..III" !! f:F39~~m~) ..::. . -.. oo. Gt r..I" : 1 I Em ... '.. 1 I :> +~ Dr ·1 ...f~f~1I"I ~ ~ --------~~ ~~ ~~1~ ~J ------.+p.. : 1 I t> J I ~ ~- Ep=1: ....) : The pattern here is very simple. I just Vo . . ~ ~~ ~==I Dr. '--------+ h:+p. ~ .... • (Dr. • (Ba. because the drum part is so simple.. ~ ~== .. A 1 * I 1 ~ A L I 1.2. ~:J: I( h.. -.......+b...... p.. "1 ~ -~.. ~..- L-O----' ... ! ..::... . more more come \ ... I* fi J I II D Em o f' Now b! • .J_?i1 ~ ~~ ~j. ..__ ::.oj Tell-ing walt ta have __ no to __ in g fur night me I got can't take .oo • OOOO~OO ~ ...... ~.__ -~~~...t . h§ I 1 . II" l! .........0) wan-n a get close to you __ II " 0) II ..~..i?ji i:J.r-tT· B: .~ ~~~J~fi~~ ~ - ...oj no ba-by In the : "" Gt oj II ~~"'l.... : Ba . 1 +~ f f I ------------------------------------29------------------------------------ .... with each beat really meant and not tossed away casually. . .F#m .. * I 2 . - :i~t!:J:Gii ..:"1"~ ..£. I Bm OOJ Vo .ar ~Jm 1 • (Ct. p... '\ I _ p.... (2x)No __ (3x)Woo __ ~~ . .) : The bass is in unison with the guitar here. Bm oooo ~ Em • . :t== I~·· ····T I"""!""'" Dr.. 1 ': ~ * \ J / "- * t 0 ~l - ..) : Pick strongly as though picking harmonics from the first note of each phrase....i'" : : ~ ~ ~~ ~~~ .:c~. .. f)p. Gt ~. oo.... but needs to play all the more strongly..... Ba...

A 8 A G In the Sril l Of The Night Em vo.C.~~~~-~~U4~-~~Gt. ~=-v~~~~'~-tttrml~t~/~~~~~~~~11 In theStill Of TheNight_ D Em D Flm 8m N. ---------------------------------30--------------------------------- .

. .n q~ The - & . c:::::c::I:::I ~I ~~~ 'V ~ '() .. ]I'bh~ .sbs: -~ ~ : Ba v 0 'V I i""""I I Dr ·1" : ~ "ffff t iff tJ f i • (Ba.. Oh ~o .'0..¥... - - the Still Of Night " II l! Gt ~ == h. ...I> chao ::J I" ba by Oh A"l! t! Gt ~ ~n: ~..0... Make sure your timing for each bar is correct.._--_-_ cb~4id f ===- +gjjfff -----------------------------------31----------------------------------- ....) : At IE the keyboard voice introduces a new.. .. don't rush it. - r-=. -- <81 [ D 1- 1 ir } ~~ '" .t! _IS ~~ Am . . ~r~r" ~ \J ..0) r r rrr ~~ i D tfffffti Em ~o' [KJ C --------- ------- f'. -----. ~.- n: 'U arm.~Coda D llil c Vo A" it J:~' . --- ...----- ~/ : Ba Dr : ------Em --------- -------------~0-[Synth. . Voicer ~ ~ '-Y. ~ I '0 ~ - . I. take care to fade it in smoothly. soft and surreal mood.~ . I It! ~:J. ~ ann..· ach ing . ... (Kb.- '" ~ " "I' 1 I IJ ---- - j I Ij b * _..I" II l! Vo .-:::.): Play the chords here by plucking with your thumb and index finger..~.'U n '0 n '0' _" \J -_.<.

.- --'U .----....~~Ei fifi ~ I : iiiiiiff ~" ttti ~o I lI.I""""ri--.. F . e LO Gt : Ba. JI oj ~ Gt . - ----....~ r---. '-"U I r--. • (Kb....t LIf o flt~fI can't keep away ..-'F ~~~ .J ~ r=_ Dr ·1 : t 111tLlj_j c :t~._.. " --------:- ~ ./ by ~ <.~ I can't keep a way ~ .. • (Ct.. glow ..- Vo ..1"'""""'L ~ z. ~ I i'"""'I ~ .gg CD(Ct...~. I tiiiifii ....... ~ l I:... ~ •.. U--J I can't keep a way 1I- Gt oJ : u I _b. careful control of the volume is necessary here..l : The chorus and long delay effects give a smoothness to the sound here. ~ 50 __ c...1 : . I JIll it «: ~ RI . .)~ b. ..) : The point to note here is the movement of the lower notes against the unchanging top .ott Vo ~oJ - - - D -.oJ All I can't keep a way_ ...- I . ~ r-""l .~ ba JllIl! oj ~ I ~..7 '" I -- z-== t ~ .... : -" Ba ~ v --\J . ~ I \J~ ~ Ba I 'U~ 1 ...~ " 'U Dr . .. ~ o b.. '"' ... ~.) : With or without a pedal. \J .~ Dr ·1 : ~~-i rrrr S?E ~~~£::::f.... . ~ D Em ~ <. -'(J~_ ~ ~ " ~~t t_1tifffi \J -------- r"""'I :t . .. -------------------------------------32------------------------------------- .~{¥D rrrr rr rr Em I f c " rrrrrrrr rr rr rrrr ...oj Em ~D- - .-~ need_to __ Em -O_j lIlI ."J1 tl Vo ...( -7j-r 'U . 1JfJ1ff1 Em D -7 ~"I f ff f .:::± ~ U " ..

~ '1' 1' "I' ~. . so you need a sound with a keen attack. ------------------------------------------------33------------------------------------------------ . .." /.jj ::oF ~J:~~~. . ii fi It .b . then try playing quavers (Bth notes) with a single beat delay..) : The neat tight phrasing here needs split-second muting..I " ..jj It Va ~oJ ~ ~. If you find the 16th notes too tricky. Va loJ bJ.. : Sa -. ~~ f.. 22J CD(Kb.. Dampen open strings by touching them lightly with your fingers. -= ~ --- -- -a= ~ tt .-. ~ r"""'I - -fi)~ '.. -. >~ . 'U . ~ q.. ~ -.. : ~..._ U-. can't I can't " .~. keep so long ev-ery-day Em ~. It - "'~19 r-r1... ~ Gt oJ ~ r--. L I 1t f fff1 ./ _A_jI__!t Ie) ~ Iooo"". f f 1J 'I' 'I' 'I' 'I' rr rr c ~ ffffftfi ~.. 1 r~ ~'fZ 1...j.- +--+-- Dr. harm.. . tJ ~ I j_l_ 1 ~I r~l I ~I =iF - r- ·7 -- --- -- .7 Z. ~Q. No ~o~ ~ ~ ~ ~~ b. but make sure that the delay time is in exact sync. .J : Sa./ iif ... I - ~ "I' f-f: -•.) : A vibraphone-like release time.e) ".): Staccato phrasing. ..'"I' -. rf-~ ~. • (Ba. ~ 113 .. D ~....~ keep_a D -~ lone_ Em ~..{~ Dr.j..~~. g..J T_ ------~ --.----- "I' . : i. 1""""1--'" f-'''~ --'!. ~ 'U ~'U~ I 1""'1-- 0----...'. i 1- J.~~.-- . with the tempo.o.Em /l . _.jj !t -. sound with a long • (Kb. .c- b.t~ ~ ~ I qj:_j..f 0' "'\J Dr 'I '" : ~ -~~ UU ~ . J .. \} ~... 'I' f f i U itt t tJ 1i L1 iii .-.._J oJ Gt . I " g. I . D keep away Em ~o-- - - ~o- -g___j Bva harm... - \_\!V_ =~ tfft1111 'U .. G> J IStrings11ru!tF ~ rr- q ..j qrrrrrFrrmf~ _'i- Gt : Sa I 4D *____ .~ b.:-can't rr 1f UU ~ Va . J.

.. .. ~ ..---... . 1". • (Kb. I ~ ... ---------------------------------34--------------------------------- . _______ .~ :I..... _i t -rl J1 1t ~ I ~I . of I _~ 1 ~-" . ~ ~ Dr : . .j... .. WYU c ~ ~Frrrrrrr@~rrrrrrrl bllt~ .. .11 oJ nrrfrff ~ /..48 I'" +~ .) : Choose an organ or strings voice to play the unison part with the guitar." Ii Vo ~I D I ~ ** * == D ::±. I : Ba .:11 n I * I :I: l :I: ~ • (Ct. --"""="!!_~~ Gt fB--- : Ba . ..... ~ ~ .J.. --~ J. ~ .._ 34 5 - . ! Em .. * .....j... ! 1l----. e D Em hJ I Vo ~oJ . .. '----. ..j..----. c II bJ . rrrffrttw@ ~rfrrfrrbWw ~rrrrrFrrillf ~ rrritr ljbUf . .r.__ 6W Gt ftJ : Ba -..~'.J... J--_j 1 J...): Keep some power in reserve during this chord riff and create some space in it..J\-_J I J... J .".. I ________ Gt oJ -.....J I i - Vo .....£:~ ~ ~~ Dr : l1 l l1l ll I Em I * W ~ 1l ll I :1 * T'1 l * 1l l G(onE) " . . .Em J'l'../ ~"~J.= == ~ --~ ..j.. :I.. r---" ~ ~ = I i:::=" Dr.. .. .j. ____ .J: _1_* I I I 7U *WI * ** I *I _l_ _1 J_ ~ --====.. . Use a long delay.. ~ ~- I i WT [!!]~ Em D(onE) "Ii .j. Em I ~oJ II J'l'. ~ lJllt.. ft---_J I ~J ft---J I ..I ..4D)~ ri__ ..4D~ a '== r---.J.J.b---J I . :I.... :I.. --. ..... : t t * t .J ..J..oJ oil Ii ~mr~ - ~rrrrrrjr~~ ~~~~rut pick scratch pick scratch ~.

-If. *J ** I D(onE) **** I " {*1ok I " C0 ~ Em C(onE) vib. ~ I I -e. Gt -. Make the final vibrato broad.· ~ !d. . t --t-.1'" }.~ p..-L___l_t::::d --~- --.~: p.J- ok ~I -~--4- i:== .t! p: :?.. !.J II . - - h.. ~.~ . ~....b. Jl II II }l.___ 6 Gt . g. ~•• -tI vib. - . - i" I I~ Dr·r~~IU* I G(onE) ! * *. ---------------------------------35---------------------------------- .j. ~ p...0 .".:. ~ p. 6 p.. b. - .. and be absolutely aware of what the other instruments are " I ~ =r== ok _ __l__ -== * :1 ~. _____JJ___ Dr.: . D(onE) C0 G(onB) D(onE) Esus4 F( on E) Em D(onE) G(onE) D(onE) C0 .. r. : • (Gt. ~.:..I..} I Esus4 E * ** D(onE) . Ij-V·~ h.}*. +~e------ I . !t Gt -.-. .J vih. 6 u ..lIn .' uib. ~ p. 1: ok .I" . -oib.l : Keep a steady rhythm when passing from that tricky tremolo passage to the sextolet (6 notes) phrases. h.. - -. : Ba " . -- 1 -. almost a semitone wide.____ q.:.e=t=: -+-+----ok ok ..* I D(onE) **.__ I ~ h.f~"~ h. . I . ~.. . h. ok = _1_ h. VI I ~I G(onE) Vo D(onE) Esus4 F(onE) " "..oil Vo.J I g. -/k-iI-.t! ~. * I:::::d doing.. " .. g. A h._ ~ -_. : :1 - -"--_. Carefully coordinated hammering-on and pulling-off will keep your phrases smooth.

p. -----...c I hear the wolf howl ho .. \!J Dr : } -. ney Sniff-ing a-round _your_door --- Gt -.. I Fm >- 1.1 .~ In the Still Of The Night_ I feel my heart beat-ing hea-vy .. p. . ~ .. f*' f*" f*'~ ... : Ba \j ----- o _______ ---_.~..tV~~·. h. +p... .. . .~ Em Fm " "I " . . p...... J I f- ~ . ~ . ~ J Vo Ff*'f*'ff*'~ .. h.....~~V~~ ~ ~~ p..~~~~ ~~i· ... !!!!!!!!!!!!!!!""""""'=~ ~ : Ba ~ .. .....!...1 ~... * .r: l I 1 ~ l ~ 1 I 1*'~f*'f ....Ill! FI m Bm N . .I - ----------------------------------36----------~--------------------- .~~.. f*' f- f*" . p..+p. 0_ _ '-0/ ..!.r.I-~~ ". l! Vo '-. p. C Bm A l' ~-~1*' In the Gt 1-. ~ ~ .. 1 1 >- -p.~ '" II Still Of The Nigh t c. ?j 1 J .... i: I _ _ . ~~~~ .. Dr : 1.I .... p..___ --~'V_ ~:- ~~ . p....+p. 1 ... ~ ... """""""- .I f-- ?tEt··. ~ h. >- ~~y...if::'~ 3 . f f*' ~ .

~.=! . ~ F=F.."-' : Ba " ~ ..-n-- 1 :> 1 I <-..... -. {: 1 I A ".11111 !! o [RJA Vo .." -~ . sweet An' Now na get close (An. c- ~~ Dr. l ~ '* '* ok +~ i t I .LL~_"·I -~.j.t t b' • t Feel _your bo ..j p. {: ~ I 1 ~ ~ G I ~ t ttt.__--y~-J~ y ~ o· ==- ~~~ 'C/ ~~ Pick scratch . Em .' dy cq~ heat F q" . __ ..~ ~ ~ ~ •• ~ ------~ ~~ ~ ~ ~---------~ ~ ~ ~ ~ \:-J~.~ ~ ~ . _ ri ==:b . ~ ~ . so ..* ~~ ~ ~ --------. ------------------------------------37------------------------------------ ..F#m Em o Em Tell in g me I got ta have more __ Oh _ Oh _ Gt.r '_". • • love ..*..*. : Ba '*'*.I ../ Vo .na make love to you __ In the Still Of The Night_ pick scratch II II !! tJ Gt ~ y-. p.-..) taste your lilt Gt tJ ~~~~ ~. I just •• wan ..{ 1 I 1 .I 1\ : I I B II 1 {: +r"R ~ I tIl.~. to you __ b. : 1 I 1 .tJ I just wan . ~~ 1\ .*7. Dr .

... o - ...) : A single bass drum will probably present fewer problems with the rhythm here. -....~ .. . G(onB) •• -- . As usual. _ .. 1 Am F Vo ~oJ ~" . with the bass is all important. ....... ... is a particular challenge and sorts the sheep out from the goats as far as rhythm sections are concerned. ... 1 .... . .~. ..-- ~ -= • (Dr.. .---In the Still Of The Night_ "" Gt oJ 11 I I I .~..... 3 3 In the Still Of The Night _ J_ ~ Cd ~ 6d '------6)---__j " . I ~I _ ~: 1 I ~. H ~ Am Dr in =""""""'" "'" Em -" l! Vo...- ......!I :. .. . . -c ....p=:r--~-T~-~ -~-. ..ffl " "If Vo ~oJ ~~ _.. ~~ 1 1 '""- --+---- -.. Dr : I J 1f Em :> - + t> - r-.. with its 16th notes.... - g...y -- =» : Ba.~~~ _ Ll~l Gt. ......: ~.. ::~- EL T-- -. ~oJ = ~ I I It 'J: I ~I G "" Gt.G(onB) •• •• •• .o. G .. ---------------------------------38---------------------------------- . . 1 ~~ ... f t o --====1 .... \ :> -:> c -.. oJ : Ba r-- r--- I"""-!!.... Em o c ~ Oh IIYeh ~.~~~: -.... : - . I r--- I _I . ....... I II I oJ - .. G(onB) Am G F ~" . -~. ... .. _l'"'"'l::!.... but this kind of section... keeping in sync.

F 1\ II Jt "f Vo . ..I 1\ it ~ b •.----_. Vo ~"C.....: F Still Of The Nigh t Lc.. -- Gt oJ ~~~ '" .I" : ==== C G(onB) G(onA) II --:> r---- r---..:. . r--- ~ r--:> ... : Re p eat & Fade Out -- 39-- --- . ~ tDr . ~O- Gt I~ ~ -~ r---- .....Bt ill Of The Night == == ~~ " II "'b. - D(onE) - _j- G .. ...~ A II it Gt oJ . I ~ r-- ....L----- Ba ~_:- • . .~.....) : Keyboards and guitar play in unison here as in 1Bl. .. I I .... :i: ~ ...... flm---"--· ~~ ~- ....::::... D(onC) ..:I: + --:> ~ .. . "*- * == t ~ f." . J . :> 1"""9 + + + = "*- . ..but it's more effective if the synthesiser plays only accented notes and not the whole.__ ~ ..=JIIIIIlil _. t . .. Am -== ~ !!!!!!!!!! .... ".. . M• [E] F=I=I=I == Ern G(onE) -------I Still Of The Night_ <I ~ ~~ =""1 I ==== == p=....:::. I I : Ba . : ~~ .. .- - •• •• •• =. ~..~ I .. I I ~- J-...: .J- I::::::Z:::::I: . -... ~. .!. ..~ Still Of The Night_ Vo ..... ..__) . . r---- * * ~ :I: = == Am F +~ "*- <I ~..._ Dr ·1 : • (Kb.... ~ O~ : Ba -...._ :> Dr : H == Am II - ...___..Nt - Em D C G(onB) 1 I I j I ~ ~ -:l " "t ~ fE ~ ~ I I ~ I In the Still Of The Night -- _...... Still Of The Night __ Still Of The Night * ===== :It * .

with an added strings voice for the right hand chords. strict timekeeping in sync. ? D C 0 ~ ___j " Gt tJ ....' I I I ·~r I -e- I ~~'---f' r t~ ~8va__j Ba Dr . o : voice for the top melody.--. try a strings voice. Kb.1 G . D Ii ? .HERE I GO AGAIN by D.. BASS:For the most part. the 'pop feel' of this track requires the drummer to have a lightness of touch throughout.. Coverdale Copyright© 1982 by SEA8REEZE MUSIC PUBLISHING LIMITED GUITAR: More of a pop number than heavy metal.e) .. so make the most of each note. (Kb. There are fewer backing patterns than in the other tracks. !".) : YOLI can use a piano voice for the basic colouring here. is supporting the vocals rather than creating a big sound. C . notably in the hi-hat playing. " . . a glockenspiel voice. DRUMS: Apart from the power needed in section [EJ . with the drummer is of course all the more important. D7(onC) • ~ fI: G .... IIntro. like the guitarist.. a soft reeds -----------------------------------40------------------------------------ . The guitarist should be extra conscious of the support he is giving to the vocals.I II II Va .~ I ~ ~ . this track needs a guitar sound with a lighter warmer tone and less distortion in both the backing and the solo. a simple 8 beats to the bar bass line in which the bass player. and in unison with that an octave above... . : IIStringsl [BJ 0 •. With such a simple number. For the left hand bass line..

,I" .. Vo

[AJ

G

D FrI

C

D7(onC)

G

D

r--.
=...J
where I'm an for go . ing an - swer

".
.,~

C r--

~

l'aJ

~
know __ I don't Tho' I keep search-jog

~

vi
been for

" ..
Gt aJ

sure _ know where I've But I what I'm look-ing _ I nev . er seem to find

Kb.

F:
: :

1

8_j_

_.

.-..5'

~
l',
_l

TJ

-&

... -.____-d

~

Ba

Dr

G
,I"

D

C(onE) I""F!-.._

G(onD)

C ~

G(onB) Am D

Vo

".

)~

f'"'"'T---"

l'aJ

=- ___, I.....J:::i
Hang-ing Oh Lord on the prom-ises ,__ 1 pray You

~

L..._b{"f
An' I've made up
my

songs of yes - ter - day in give me strength to _ car-ry on

mind

" II

Gt

1-.1

Kb.

l··
: :

" ..

..
I
8va

I
• .._,__o 1\
_~GI

I IGlockenl

8
1
.~

1

1

(
••

t L8W
-.
~ ~
T

...
..
?,j..

LIStringsl--O-

L__

-&

-

~~

-

Sa

Dr

"

• (Kb.) : The same motif as the intro. with a sharp clear piano-only backing.

.. (Kb.) : The unison glockenspiel accents sound very effective here.

(Kb.) : Bringing the strings voice in at this point in the repeat of section I!l adds a new colour to the music.

e

---------------------------------41----------------------------------

Va

""
~oJ

Am

..,......, r--..-.

_
more

o

Em

Am

c ~

..
I ain't wast - ing no_ time

Here

I

Go

A

- gain_

Here

I

Go

A

gain

" ..
Gt [oJ

""
Kb.

..
~
-&
'"
Q

[

J. f

.J)_j

I- "
:

~'--l

~

-d

-&

i

=.»

Ba

Dr

G
,I" ..

Em

Am

c

o

Am

~
'Cos I know

~
what it

o

Va

~~

I

means

To

""
Gt loJ

:

Kb

.

I: :

" ..
..

1 :

~1 J

J

J

1
~
u

[I

P:rl
"._____4

r
~

--r-O-W
~
'fi

..
?.
-&

~:tt

-

Sa

Dr

----------------------------------42-----------------------------------

Am ,I" .. Vo ~tJ

. ..----..
a long _ the

o
• • fl. •• ,.

19-

~
An'

J,,_~~ ..... c
G

--------

.
on my

.._.._
own

o

c

o

...
Go - ing

Walk

lone-ly

street of dreams

~.

Gt

oJ

+---

.•
--

Kb

llllR .::-:e:
: f-i----.

~-=-

; ::: I:: ;:; 1 .. .. .
[!'I]
>-~~~

Here

I Go_

A·gain_

I::~
~
1

I· •

..

,..._.....

.. ..
r-"""l

-=

-.J.

---

~:ih)'

.-

Ba

j:
:.

Dr

·I~·1-+--.

L

~Ii=;~
I

: : I:: :: I:: : : J
...........

L~ ~

.. ..
f

..
I


>-

y

+

+

:l:
1

+

0

+

:>I:

:l:

:k

+

0

:>I:

:>I:

:I:

:k

+

"*
+

+

"l
1~

~ 1. L 1. 1
1 1

0

:>

0

LJ

711

L...J

711

L.J

D ,.1,,;1, Vo ~tJ
down the

...

.... .. t,
on - l y road
L;

.....
ev. e knowIl_ r

C

.. ~ •
0
Like a drift

G

~;;---..
er I _ was

.. J.:
born _

C

........
walk ~3-' a lone

o

I've

to

" ..
oJ Gt

;. ;

••

.. .

-- -.

"~__j g. g.
g. g.

""
Kb.

I:

...
~ ~
+ +
:>I:

••
-"""""""
!""'-"I

.. .

.. ..
.1':""l

-"""""""

... ...

Ba

,....,
0

+

0

Dr

:

ole

,It
"f ~

:>I:

:Ie

:Ie

:It
7~

:I:

;I,

;I,

,It 1~

k

H
1

~
1

L..J

LJ

L.J

--------------------------------43--------------------------------

........."" .} ~ ~ :I: " ... .J I CD (Ct..) : Play these 8 beat phrases with aslight staccato.- PB ~ : Ba ~G ..~ I I I 1.. damping the strings with the underside of your fingertips... up my mind I ain't wast -.. ~ ....".~ ..._... " L..~ "" . • (Ba.. '---" 1 Gt I~ ..1"11 Va OOJG 10iiiiiiIiiiiiii~ I'm just an-oth-er D ~ in need of C D7(onC) G D .--._.. ...) : Note that the glissandos are not hammering-on in these phrases....) : These six bars are overdubbed. ._ heart res cue __ sweet eha ..... --------. ~ -....._.. ( wait-ing no more ty '-' .II Va ~eJ Am "II r-~~~~ 0 An' ~ D Am -.. r:r Dr ·1 : I :I: I :I: ~ :I: e :I: . ----------------------------------44----------------------------------- . so use a little bit ofphaser... ------.."fi -~~~i g.. '> I ~ . .. -.... C - D7(onC) (I (3 Gt I~ . g ~ I -0~ =a =-"" I ~ s - ... .. ..ri . g.... . • Kb l· : '1 IOrganl " II • I Ba ........ :> I 1- L-J T " . \. 1 11 U .. (Ct...-.1"*-111"*-1 Dr 1 ~ I r-"*1- i 1 ~ 11 t 1 11 I I .. ~ "" ... " II . The sound is slightly hard edged. ~ I ... ing 1 no more time D I've made F=ri ~ g. \ '---' I Glacken I Kb l':· ......._______. .

IJ l! f'-' f'- ~.G . Am .... too much power here however... Fr1 I ".. .... ~ my o c o .. 0 I· • ." • y ~~~~ gg~ ~ g..... I f....------...... -.. 0 .. ...... will spoil the effect and the mood. ~ '----" ....ll1l LJ 7 L. :> 0 I .... '---' ~ ~ Il . .c . l-·. ~ An' Here I Go _ A· gain c....time it o ... Gt .. Dr : f1 :. LJ I I LJ I Am I" 10 . .. 1 .. .. 1 1 :I: '" i_ l_ 1 * *1:!t........... ' ...... . l! I Kb.. 1:... C/ --8~ I ~~ ~ :il :il -* ....... on own __ Go ing .. -~ Dr ~: * * * ****11+1 f. :I: 7~ .... ~ CJ IOrganl! -0~ ~ '" ~ : Ba .. but at this point the rhythm jumps to a 16 beat feel. 11+111t1 I I f.. . - d""1 :J g I ~h..... 1"""""1 : Ba '---------'------' I!!!!!I . ( what) D. ..f*" walk a long _ ly street __ " .S. ... 1 J..------..--. 1 1 J.--.. .'i 0 I r~......_____j 1 ~h1-R f... :il :> 0 . .... • . ...Ill" Vo • An'I'm gon-na ( o • on for the c --.. .... •• the lone f'-"'._ ~~ hold rest of my days means To " .. ..:. ..iik............ + 0 ..... ~....~---------? ofdreams o .. r::.. . o0 • :> 0 ~ u --------.. ------------------------------------45------------------------------------ .." I Gt :il:il:il :il g.J 7 II LJ II I 1 • (Dr...... . . .) :The basic pattern is 8 beats to the bar...._c ..lliJG ' J• .... I t::::\ vib.. . g Kb. s. g. . ~ ...... 'Cos I know ......

.. - • ----f . '---' ._ .time -. -~ ---~ -- . . + J... .. U=-"1~.-:J ..--.... " II Kb ·1: ...._... ~ -+-:> Like was born to walk a • ..-_. .-1 ~~ 7. 11*1..G c "t" . + -----4__4_+__ -= TT . ....... 1 1 1 l± I. ..7.... G a d rift .L- . 7....... . - •• • -r' -- .... .. Dr LJ ~ I I. ~ ----- . ~- JJ. more time __ "II Fr'1 1 Gt laJ 7-~~7=-"'I '-' . ....J--- .. --. "II IOrgan[ -.. ---------? _~.. h. But D C D to~ • A gain fL ~ Here I fL~ Go ing n o.. f--cd- -. .."" ~ . ---.~ I've ever known __ D c D ... J + • • -- +- r""""\ .t-~..__.11*1 __ L. ~ I _I ... ~ . .I down fi..J ..J + :I: * "1I) ** U + + lllllL "1~.hJ--~ I I I _ __jJ ---------------------------------46----------------------------------- ..-1 Ba ..__:. 0.. '... • ••• t ... ~ + 0 + j---±+ ± -- Dr : ** LJ + + + 0 :I: "1 * ** I)' L.fl the on . p.. Gt laJ .. er • ..---...__. I ... 0.... J._ _... h. -" wast :....+p.."". -~ I - ~ h. 11=9 I-r=9 --. ~~ .. .. ~ ::J g 1 -- 1 .. - -- .....• : ~ c ...+p..Ja. 1 71) I I L:f"~- * 0 f1~ I "-"-----....-..5. LJ -- I) ---+ -'+. ... I ain't fL~.' LJ I Am '/"11 Vo ~-."". e r I_ ..I An'l've made up my mind D Am fL~..-.-1' ..r- <i ** .tirne lacet Fr'1 ~~~~ . ly road L.. Kb 1-...c.= -'-&---%-0 -'til- +-----== I 'r " I 11 I 4........ --'---- : Ba ....... 1 _~3-.. 0 0 0 r .. .... ~3~ lone D " ...... ~ ~ h... : ~ I. JI'17 D....--~---= + .... -- I -- f- _.>' 0 :> 0 t + J 'T 1- + 0 J + J + 0 J....--.-- t I 1..•• Vo ~-.S..... ....

...:::::::~ '----'" Sa . I Dr : 1 :> r1~1 II ----- 1.. Go A .i '--'----------=.. I t I ~ II ~~ J I l- :> Dr ·1 1--~~ 1.) : You could also use a piano voice... J t> --0 .......~ Here I " II ~ I --------- ~::::::t::!... (Kb.. j:. I ~ ~ • fI- . .___.. -----------------------------------47----------------------------------- ... 0 Gt ~ H-- _.. IStringsl '---' I!!oO. .jf..-. .---------...~~ I _lI'lI I F=~ ~. .~ " .___...... _l\_jO........ .. Am(onC) ../ " jj ~fI- r. fL' I '--. =:J = . Am(onC) D II .. Go A-gain __ ~ Here !!!oo g... Gt t. 41... ~ . ~~f ~ I : :.. ..... I 1.... ~ : Sa . .gain ~'---'~ -----~.. I > ~ ~ ==='= ~ J I :> I f 1... .~ - . I . ~ : IOrganl ~0Y:::::::iI . I :> ~~rI J I :> :> ~ II -. : . ~ ~ '" Em Em9 C Am(onC) ~Em ~ Here ~ Go ~ Vo F~ ~ '" I Am • F=:~ ~ _11 II .~" Vo ~ Em9 C Am(onC) Em Em9 C fI- fI- f'....._. I :> I II I .:-Y . I_1: 11' 11 ~ 0 ~~ ......~.. I > rt~ II ._____..I~~ ~ '--- ==--- I ~~ 'h--c " Kb.... ~ - 1'. Kb..

. 1 >- t f. . Piano I [Glockenl f'".z_ 1. • (Ct. so take care to avoid wrong notes and try not to rush into the triplet at the end of the bar (4th beat).... .- • I I Dr : I I I 1 I 1 D. 1 1 --.. l_ 1 1. chao Kb. ~3 .... : . ---------------------------------48---------------------------------- .41 Va ~e! [Q]G (!) D c D7(onC) G D " "I Gt Ie! j1t g.... _f'"' • - &~ U". h .e.~ . .... '.. J cho. . especially in the phrases where bending is applied. .. --.f:~~ ~ ~ ~ 1 rh.r--~•. J Va ...--' *" ~1 I ~J . Kb . _. . 1..~'J _f'"' -t::E:::= • : Ba Dr : 1 1...:1.- ~3~ & :~.. --...J 1.-0 18va ijho..~ • f':_ "'"'""3 --:r--' _. 0 ' *" *" g. ~v . _.. - -------' " .. L . t 1.' e! - 3 ~~. . IE.S .ifL~ cho.. chao h cho. 1. iJo. - . It (!)===:J • .--3~ An' .. 1 T f.. .e.... -*f.• .J -:- -- " 1 . .) : High position picking here. F: .". fL. oj I .--'3 . ../"" l'oJ c D7(onC) C •D " 41 Gt e! ~~ ch~ •• . L.) : A triplet-based solo which needs a certain restraint.'/..____.. 1 1. 1..f'" I ~3~ .. • (Gt. 0 0 ~ : Ba ._: _.-..

.r~ 1 T 1:~ nr-=h~ .. bom_to we Ik ..treet of dream An' Gt. g. 11.I 'r --.... A>I .. " ~ . + 0 :> 0 + ... ... -I) I ..#" • I - 'Co. y I ... 1"""'1 11.. :1:1t:111. y ~~ .. g..I: 71) Dr L.. --~ I . r I .. L~~ . Kb 1-.......I:*4:4:4:.·10 C ~--' 11>1 Here I Go_ A-gain _ on my own __ Gt I ..:1 I 1- -----.___.I .J. : Dr ~r 1i1i~ w ~j) 1 - .. 1--' .. I ~~~ g... 11:. . G "'1"n#" fi.t.: 7 + + 0 + + ...oJ COG . -.. ...-. . Kb l. I :> - I I W W ~ I 1- W P I 1- Repeat & Fade Out I I -----------------------------------49------------------------------------ . ~ ~ PIn I ~ o fl.. : •• • -:J ........fi.fTTl 0 + ..D .I:.+Coda "t">1 Vo "... g. __ To . ... . '-..."~~... ~~ + •• . " >I I....J V W "tV I I U 71) W o "til Vo >I Am ~ ~....L-... !=II ~~g.__.r1_ ~. Am tlt""1 I ~.. . .._ .....1: ! . 11:.1:.. . .11:1t1 I f.. . 0 Go-ing down the on-ly road_I've ev· er known_ C o C 0 ... g... ly ...t... : : G o c ... I know what it walk a· long _ the Iooe ..11-11111 W 71) :> 0 -+ 0 . ~~~~ ee>: ~ ~ ... ... o mean.....--.. IOrganl ...1 ... . 1"""'1 Lik•• drift·. -:J~ ".

III n = f) II G Am IIntro. When . Gt I~ ~' j ~'. Am LJ ----I I..TD. ~ _u "If' Dr..ery ---:'r""' took my breath can't leave you a love treat and - .~/ ~/_ !l -. U----....S. __. The guitar backing for the solo has been left out of the score. M~~ ----1 I.. I I (ct. L8_j :J:j:i . GUITAR: You only need a single guitar for most of this track.._ _. .- -4 -" '. Get the feel of triplets into your read before you start and you shouldn't have any difficulty with the shuffle beat......!J f.timeStraight) >- 1~ I ri-J.:' ~J-.. Give every beat all you've got. & WHITESNAKE MUSIC l... but in section IAldon't let your hi-hat get too loud behind the vocals. ---------------------------------50---------------------------------- .. • (Ct. Dr... so it shouldn't present any problem. ~~~l f. . except for the solo in section [EJ. which is the pattern for most of this track. I'm I'll I I I I w I .. I : r~ I 1 I 1 I 1 I ! I ! I. I 0 ~ ~~ .. .. is the triplets. I I «I Gt - ~~~ I~ i w . BASS: Make sure you hit the right timing on the 8 beat shuffle triplet rhythm... I. . = half mute) .. DRUMS: The first point to note... : Ba '- .. so go for speed and accurate fingering. as with the bass. .1 G Am F C G G Am Vo \«1 ..I I I (. It's a simple enough pattern... ----.) : Leave the th roughout th is riff.en hard day ev ....-a way lone right you . you need only to repeat simple patterns behind the solo... Sykes Copyright© 1987 by WHITESNAKE MUSICIOVERSEAS) LTD. . . I : i M-""-= -----1 LJ '-I ~ I. The solo is full of harmonics and very fast trills.Lyour ev .. but here and there it comes in unison with the guitar. ~ I.~a ____ \. so watch outforthe timing in those places. I first saw you ba know......J .) : Mute the notes shown in the score with the underside of the fingers of your right hand.GIVE ME ALL YOUR LOVE by D. . * I l I r-f-. n. • 1 I ! I 1 I 5th 1 I (A) string open 1 I 1 I !"""1 r r--j!. 3 --1 I Ba "'9 : -.. by name __ I -" ~( '/11 Vo [AJAm Arh--n : ~ V You I To ___c] ~~ II . D... Coverdole & J..):'..

.. . r llZd _... 1 I I........... .Give Me ltD m ... ..d All Am _n Your Love Va ... 1 rh ~ 3 ....... 1 .. Om c rf--1... . .....J But my Like a And in the way_ heart got with-out a bone_ dog in the nite roll you T"" I ~ I couldn't stop my-self from reach. Dr ·1 1" : 07 10 I 1 "'3-. .. . I'm ~ could not just I gonna prove my --- turn a can't let love for - ..... " Gt r---@)-l I ~ :t:J.. Am . . ~ I I L.bl e cir .. to . 3 V r--1 ~ I ~ I ... .....J '-J I ... . .. . r I J :11 r F All Your Love - [!lJ........_ 1" Va \~ I f'=I:::= I ~ JJ~ So Give Me ~ I __ don't go you -...1 I .1 1~ 1 " Gt 3 knew your name Lwas in cun ning round the rock you in c:...nite n d. (CLl : Note the harmonics picking here at the harmonic point for high D. ~ - -6>- ~ - n" .. .. : -L.....J 1 ~ --... .n~rf--. --..J .....J Trou . .._f "'3_ _.r--..... . mg out_ I know the game you're play-ing But way you want Any --r- ba.. ...nite ---_-_--- I I I. .. -----------------------------------51----------------------------------- ... : Ba. .4-1 Dr.........F I" Va \~ rf-1 n.-- 1.-.. . 0 0 oib...J 1 ~~T ~:t:t I... -. : 1 ~ * I Am ---.cles morning r-- ....way ~ ~~ ~ I 1.r-f-. I'll do . .. . .. : Ba J . i~·~ ~ 3 _'I 0 0 : Ba - ~ '--' ~ I ~ 3 .. ~ I * 1 .:J... .. ... ......~ Gt ~ " :t:t:t to _n~rh . +0-+ Dr ·1 : I * . G GI 1-------.

.... >---J n:-c- .._ ~..f-. arm... 3 1 1 II 1 -:r Dr : I 3 1 3 1 3 1 LU 3 1 o 1 " i" " 1 ?irr-.r1.rm . 5!:!.) : Same as (4) above. 1 I .:... CD(Ct.. ~ I -- to· nite __ to I r-..J~I Flm ~ ~ ~ Flm Vo . #2. ------ --------.-/ arm.) : The bars indicated feature a combination of tremolo arm and harmonics picking and releasing with the left hand. tJ .tJ ~16vaarm.. 3 3 .0) . --------: --------------- .. " ~. nite __ G# to~ Am ~ 3 I'll ~ work Just Give Gt tJ .. ---..~.J LU 3 3 (Ct. ! I - .. ---------------------------------52---------------------------------- ...----RTm.J LlJ LLJ u. 1--..~~3~1 f f....J 3 LlJ Ll.. aTm ---.... arm. I E ~3~~~3 r-3....l ..- -' ~U ~ F-- harm. • arm. . D. arm..: nite ~ c E .. -{16va~ arm.. arm.. ..... : Ba c- .----- '--.J 3 Ll. G Vo .. 0) Gt harm.::. ---:... I :--. arm.____..... .I" Vo 'tJ any i i 1. arm.. ~ .. ~~ ~~ W I . 0~· arm.s: 3..~ r--I .t...0~ Illi ~ .. 11 I G Am f.. arm.! ~' ~..I " : ~ '" 1 _n--l U~I >--'-=/ .. 4 J ~ thing you want_ - 1J I Me All c G IJ I. : Ba...._-------------arm.. .LJ U-J 3 3 3 3 LL.. arm. -r: arm.. arm. e LLJ u.J (Ct.. I I E I L.&arm e 0- " Gt . I A --.J L. ._ ~ ---....' -.. -6- ..Dm . __. ~ ~ ~U ~ -' - ~U .. ri·.. _§. o~ " : 1 I 1 1 1 I Am Dr ~Coda ~Am I " . .) : Take care over the timing when you use the tremolo arm here while you're producing harmonics at the 3rd fret..S. 1 I 1 f.~ Dr ·1 . " 3 3 1 3 0 -~- 3 .t...... h.. 0 3 .... 1 f.. 1 f I I 1 f... LLJ LW 3 3 L..------1 W~I A ::> >-~. ~. arm. arm..J of your l 10v 1 J 1~ in' to ...... > .&arm...l ----I""""! ..J. ~~ r-.harm. Ba ..m..... ann. ..

. b hann. • (Ct.. "~1I1'g~l R.H.. I~...""'7'" . h. . I .-6 h.0:.. -:'.jI~:*)1. I : 4 ....) : A trill phrase using the index and little finger of the left hand.. .. ~.- .LrTI:l .T o>: Rll... . 1 c- e .+h. : Ba. " .- #11i o-:: 4- g- I~- ~8va~ c~o. ......_ h.L'f : Ba .... o>: 'IT- o>: o>: c~o.&arm 3 --...~ ..- R. L . Gt ~ o>: ff--I o->: I>g- g- J.~~ g.--3~ .!-.:3--.~ ~ cho. RH R..&arm. 3 .L Dr. I 1 LlJ UJ 3 ill@ ik" ~fttrl LlJ c. 3 8 -:. -+-- -. r-r--: 3 --.. ~ r-r-: 3 --. ~3 --. . 1. r..I> o>: _k_ g- g- l~ J... -It chao 3""" ~ 3. .-Il ..---... chao cho. g-II~:- I1:-.~ " II F# m A ---: E F# m A E o>: ... ':.. vib. 1 L 1 1 N! flirh E 4J4J4J4J " .. r-r-r- 3 --. harm. h. 3 . F#m 4JL+J4J4J A E 4JY-JLt-J4J F# m 4J4-J4J4-J A Vo ~~ " .c:::I .3 - 3 . Ba.. c~o.~ 3 --. • .. ~ harm.. b .. c- :> ~ - ... . on: 6 ~ ~ 4 4 J "" arm._ 0 c1: '-. - 3 3 If • (Ct.. _.~..Vo r'--uJ.&arm. vib. I."'1 Gt harm. 3 s: RH --.--. 1- - =t-j-- --r= -:> .b..- -. 3 .... II Vo F#m A E F#m A E B A . ji'J.• rJ-rJ 3 -___'_- Dr. 6 h.&a-rm. ~~.J eta.. ~ ~3--.--3--.~-: L . . . ... t :> :> ff II ---------------------------------53--------------------------------- .:-. II Gt.$~':f~ -It"""~ a cl. chao -(8VG! P..H. 3 3 _3 ..~. At==~ --- --.-- . _RH....<8- . Use the fingers of the right hand to hold down the notes indicated by the arrows.H.1 -----...) : Right hand trills.._-. and rapid repeated hammering-on and pulling-off. Dr.._... : I t .go>: .[ 1 1 1 r-. . --- 3 .n... s.. <.i£"..r: .

-· .~=-~=--.--~.. ~~ ~ Am F Dm J thing your want __ ._~~~-.~~=~=t==~~=-=z=~ . -.•.---=~:-.--~-:_-s-_. Dr'I~~ll ~~~~ ~~~~.~_~-~-. r=±~~=~ ~f~l = ~~~~~z=~ .-~-:_~~---~=-..Ba..~-~-~~=-~-. ----------------------------------54---------------------------------- ..._~ :~---_-=-=~.lu st Give Me All of Your Lov In' ~f1 to· n ite J~ Your Love to m te I'll do any· Gt... f-fk-------= __ ~~-~~~-~._·:-~~ __ c~~-=-~~-~_. . ••••••••••••••• + ~~~~ -e- . ~~~st==~ =:====jif==:='~' =~ ~~~ ~~ .~~--~:-.•:~~_-_ .

: ~ 1 J.. ~-- V· . Dr.. !'1= t ~..I" Vo 12..... . .. Oh I __ ~ am . ./ : 1 I J 1 L f.. . I I [IDAm . .I " Vo ..• ~ shiver and I F f:.. . Dr. : 1"'"4-.~ • you ba bytalk 1:"""1 r-!--.zy your walk " Gt .- ~ I' .... 3 : 3 )...J--J--' ... So Give Me " Gt ~ C. I I ~ I I 1 1 I. ! 1 ~ f. =!. Am .-------. I'm 1"- 1"- r'bout 1"- 1"- • I -F~f*. ... t t' __ . r--h '" 1 I ---------------------------------55---------------------------------- .. ~'" ~ Your Lovin' to . J. to. : Ba..i.... . ~ r-f-. When F. ~~.~ fool for you lev-in' Give Me All ... ~~~ 1"'""""1 I ~ - shake I hear __ r--1 I ~~~ : Ba . babe c r-~~ r- G 1"- GI 1"• Am Vo . r+.... 1 roo+-.'3 .. "---"--' So Give Me ~Am r- . -M r""'""I rh~ r+._h+p 3 . nite ~~~ ~~ ...t. h+p 0 vib..... u ~ I ! I.• 0 -oib. I I Dm Dr ·1 . ~ r+. ..6J .0) blind-ed 1"- 1"- 1"-. ~~ -- " Gt ~ ..L. ~.. : 1 I ::> 1 f. 'f": -.._ I'm a by your smile era . Ba. " 1"- ._. ~ ~' ~. 1 1 f. -.

--- 8 __.. . ~~~ . .. . c G Am " . ---------------------------------56--------------------------------- . R'" /. F nite __ ..Vo ..~.... nite_ " Ot. .. ~~~ ~ BII.1i~ of Your Lov-in' to· nile __ s=s:» r. thing you want for me G . M~-----~ ~ Wi ~ 1 -'--- ~ /. M~ ~1 w~." ~ g:--. 10. . 1 I Vo ~tJ .. I c I A -- .. t~ . G Am -*(. .:I ~ 41) (Ct. 8_"'" ~___... ~ . .~ any .) : The double-handed the snare need a keen attack. ! I !l (. t:'\ . Dr : 1 --~ I '~J-. ~ ~ Dr (... : All Your_ A ~ Love . /.. ~ .I . .J . " " [!J.m ... ~J. So .. 8 8 m ~ ._t:'\ \:I g. . ! (.J . . Dr. ~ (... to > ... ~ ~~~ .. r---8-. to . 1 ~ (../ . v All Give Me __ to nite __ -~ 1 J ! L 1 . ~. 1 flam strokes on if---'....." " .. 1 .... ~ (... I" ... ... • u. ~ ..... if--'.--1----. U-.. 1'1 do any· thing your want_Uult) Om " Give Me Give Me All Your_Love . ~ r--h r-h l I . -.a g.......... I r""11 ~~~ 1"'1 . ! ! (... ~ III'Am G Am .____... :..~_..tJ _) " Ot "J _.. I . GAm «c to . I I I CDi.. ~ ! (.--8__' g. ... I 1 (.. nite __ Ot._. ! '--8 I I 1 >.. <.. .--S-. l !. ... ~J ...--8---. : . .-4-.. 1 I I Am Vo . .

on the contrary..: .. J.~- .. Vo IIntro·1 t:'\ Em Bm c Em Bm c ~~ _tl_. .:. Watch your timing in the 2 . IJ J I rharm. -----------------------------------57----------------------------------- . Sa WHrresNAKE MUSIC iro. Sykes Copvright<ClI987 by WHrresNAKE MUSICIOVERSEAS) tro.. but there is a lot of echo on the snare. so don't let your snare strokes become sloppy and weak. ".... hard distortion... • (Kb. Gt.guitar fill-in phrases.... so each of the notes in the medium tempo 8 beat phrases should be played with a light staccato touch without much strength in the picking. L 0 Of I V... J...... i: . II'~ IStringsl I . r= Sva harm.... and the use of harmonics and arpeggios...ij r=-.) : The keyboards provide a contrasting colour to the guitar.) : Smoothly fade in the rich middle register strings voice to set the dreamy mood for what is to follow.:8 t:'\ . but the main effect should be of arpeggios. : t:'\ j Of ~~! ~ ~ 1- ~ I I .hr·' -.IS THIS LOVE by D..::. I -r- . t:'\ I~ t:'\ Kb ". . also with a hard distortion sound... IE.. ~ +- _!... J. .... A second guitar is used forfill-ins in I8J and ICland for the solo in ~.) : This is the track's main riff: a clear sound with a chorus (effect) added.__./ E Dr.. . -:-~ -.I ~ t:'I r:=:= ..~ f.__.-II . Harmonics are used too... Pianol Ba . GUITAR: The characteristics of the guitar sound on this track are: clarity. (Kb. - - i t.. " Gt. DRUMS: The simple laid-back 8 beat suits this numberwell. Coverdale & J. they should be keen and precise.... BASS:The whole track has a light gentle feel to it. • (Ct.::..

! Kb " II .>:JT .:f ~ b[_J" .l Kb ~~ :=j: : Ba.:.be My back's a ... '- .:--1 1 11.--- harm. : i: :f...._ <........ 1.. .:-.. - and To "II I 8va harm... " --------------------------------58--------------------------------- ._ 1.. "II - .......=---~ -I --. II '-- r--harm..... T .----: Bva harm....1 have known I spend _ bet-ter my time Than " II rr:r:Ti~ ~~ T Gt. .... --:--l Gt...___"_ Ba ... .:: "" -.._ C ~I " '/"11 Vo ~ . LJ:::::::::j ba D(onE) ..t.. : - - i l~~ l -. ----.... "II ~ I Gt...... +~ g ~ ~ u __.s need you _ by my si .. fTTl I Em Dr.........· I I t.: .....! ....de I ...... I 1..l....· I I~ . ..... ~ ______ I : : u...___ go a lone your call times like these How can I tell you (l) can't make it on .--J· .J:::j to let you Wait-ing on ~ .J..I:.-... y I should I find " ~v ~ ~ : : ~ = ~ I' ....11 Vo Em Bm c C Bm Am (on+) GG F ~Em f'~ T' '=It:..._ :> -----------.. *I * .... .... -. '-' ... ---..·1 I r-r-...:I Wast ..::i Dr... Gt... .gainst my own the wall 1: "---= ~ L.ed day .... I C Em ~ I T It's I~ V ~ ~I v~ I Bm ~I J* . : 11111*:1:1 I Bm .. . :>:>-___.·1 I It.! L.-:> :> : ~ 1--0· ~:.

II II C C 8m Am G F I 2. -J ... :> I -e~ : 1 : -ri J_ 'LJ C 8m :> 11 1 ~ I 1 .) : Distortion * J: 1 .. " I '-p---' • (Ct.-I oj T .. Is . . Ba_ c- - -¥- ::: " " ... -r--: ~U sleep tell less nIghts~_ me it's al right E.-II oJ II I .I :I: 01: :I: :I: * t 1 :I: . 'Cos I /J II Gt. h 0 1111 Gl ocken ~----:J -u J1?~ ~ Kb.) : Note the 2 guitar harmony fill-in here...-II .ml IGt."jj'~ Vo l'oJ .1 ~ D(onC) I .. and the single notes should be slightly muted... Vo 'oj ..... can't wait think I to can see you take a ' a . '-----' ~ ~ I :> :> Dr. -¥-:::::.--~~---l~J. . ~-=:~. ~ Dr. .J t> :> t> I l~l ~~V 1 11 I is needed in this part. I' V II Gt.t.--". -:. -- . you will provide an effective backing by playing together with the glockenspiel in a rhythm of J.. The timing of glissandos and bending should be exactly together.. .f ...J TT -+y :J~~ '--'" :t h II :J_-r . V '-----' 1 8m 1 . : ~ .-I oJ ... If 50.. t) m~ .-----". ing The Love ___ that I've been search -ing_for __ Is Gt. -+ •• y 11 T T -.. : 1 1 T"l.1----4 1 I c- I ~. .. . I : '. gain ny more This Love I"'r:1 r"'I:1-I-8~ : : --/I ::iT : h..... Is VV ~ This I Am G . nih I ----1- J I h I oJ Gt.b.. . 1111 Kb .: .1JI1 ( LIStringsl~0-+ : ... + ... j J.... ~-I-~ . .J I T I don't --I- ..... Ba.8m . (Kb.1 .. ~ 11 .) : You could also use an electric piano (voice) here. -- ~ 1 J t f_ f_ \ "' o (Ct.. 6 II II 0 ~J' IGt..oJ i: ~~:#."""" :> '-.....I: IGt.. . F ~ ~I ~ l ..t -..... h.I: ok f_ ** I 1 :I: 11 I.... This Love II II I 0 +-+ that I'm feel .. --------------------------------59----------------------------------.

-J ~ r......~ I Dr : ~~1 I F (... ..oo''''- d~ j-~ 0-~~j "'" '~d~....~ Gt.. I 1___________ I n-.J Em D(anE) '0 II " ..·1 __ t. -41- -. Kb ~oJ 'f ~d 'f . I I J J -.... . • J -------------..· I -. u ..cn~ 'f u m~ • . This .:::::::.. cho....oj ~u or ~~ : Ba ~~r f' ~ i""'tooo. cho.... .C Va " 'oj ..._ **1~~~1* I ~: j t~__ . ly got a " Gt.~ . -----------:I " -.. oj ~O~ r--harm'l .-8va harm'------:I ~ .. ~~$ Dr. ---------------------------------60---------------------------------- .. i.... ii I ~8oo-c~ ________ ~.lfJ VEm (A) hold on_ me ~ 8m C I ~----- " ~-. .... ~ .. ~:____~ 7J "---- -. ~ ..... chao n~ Fi.. Gt... '--1_J 11 I I ....... * 1 I 1 1* f 11 :> :> _l l----l_ 1 ~~~ I 1 ___ :> ~ " Va to... . C 8m Am G • hold on ..-harm..rJ.... D(anC) • 0' ...J .~ : Ba . t.... : ::ri J. -... ing_ must 'C:-::'s J I -. n~ "If Kb. .... :> '----' ~.J Gt.... J .. I ... . :> ... L. "t rea l . harm'l ... Jq:i ~ __ '----- ~ -----O:8va~ • ~ r= -.·11 ... .. no J. . ~ . .. d _______ Fi ...... d____________ .·1 I ~8va-~ J'1 J I ~ ~~~ ~1 I _~ ~ ~ loJ ~ i iI~ II" ..JJ-_n..]b. .~ F -- am I dream . be love __ 8m ... me " .Lh..~.

..-~..Ls This Love II ..... J. >:> - r-or---. ~.. .9-: : Ba ...0) ...L. G(onF) Ba Dr -. '--- ...I r-v-'- harm.____" "> I...c... you play Bm.~ you c.. $: I· • • .II " ....... t:e Bm ~t! --~ c be-fore_ Em -.>>-- ......... .. -------------------------------61--------------------------------- .... Bm c can't stop the feel-in g been this.. 19~" . 1---(&a)1 r- 8va harm.-I I It! Kb "" 1'0) t\ I ..O So I can hold. ~ . •t! Gt..~ harm.J r-harm..""'" r"""'1 Gt...... ~l) 1 1)---------0 I I -p--------U D_S.~~ ~t ~ ....) : Here... you in F G(onF) F J J ....:=~-.. r- any door ~ ...I I 0) -..-.I " " c ~ (I ) ..J-. 1""--. ~ -.. ------. I I . _. ..Bm Vo ........ 1 ". i= t~_ ..gain my arms c...... Am G ~J I"MI 1""1----. way _ But with you I've found the key To open "" Gt. Grow-ing strong day by day- An' I can't wait to see you a ...-I I I I It! ~I I I - 0~ I -- !(~ Kb " ~t! l ......... I ---- ~ r harm.... a I "" Gt.~- '. I can feel my love_for r8tuharm... ~ --. C arpeggios while holding the top Eharmonic at the 12th fret... ---.J .h "/ "/.. '----' rh.. --..c.... I- I .....l--~ >.... : **t*n~ I Em I JJJJJJTl I I I Bm I 1 I c _....__ C Bm 1111 Vo . ~ • If' "-h..-:..1 h.._... Dr : IT l) 1 :> :> r 1---11 I-l~n J~n~n :> J1 :> II I " • (Ct. .".

vib..: g.-I I I~ chao ~ I ... chao ----...... ~~ chao -. cto. Il JJ.~ i l I~~ I"""""! Dr ~- ! .. •• • ~ •• cho..( f.j Il . 1cho8va~ 1I'~ cho. . chao ..I " oJ Gt. .-I r+: harm.lI- chao cho..-/ .~ Gt....~ g.....--cho. cho...~ - y ...) : The solo is played with hard distortion. ---.". -~- Illl_ ~~p-..C r-R=:I Gt. -.__ .... cho. ** I E rTI l ::~~ -. I ** 11 1- Il 8m c Em 8m c Vo ~oJ Ill! oJ Gt.. but sounds somewhat sweet..~Coda .. ~ ch.}. ch o.... ........ cho.. Make sure your bending and vibrato don't fall out of rhythm.: Iy ~ Dr : ... ~ chao ---------cho. ~ .. because John is probably using more the front pick-up. ~~ ~iiiiiIiiiiiO""""""" ~~ -./ Il . p. .. (Ct..Z -.o.- OOlEm 8m c Em 8m c Vo ~oJ r--harm'. ~ • .. .A.... Kb ~~ : Ba i . ---------------------------------62---------------------------------- ..: -..-I I !-.lI_ 0 o· Kb ~oJ : Ba .

_ Gt. Dr. vib.....--. .. -rt • chao ~ ~._~ cho.... .r chao ~ ..-I I I~ ~=. . 1 .1~1 ~~ :> :> 1 1 I .. "'""'3"""' vib._ ~p:z JI II 'f:-'_. .. r:.....~ ~--..1------ v--- ..... " JlII~?' " chao <.1:.( :Ie 1 f. !i0~ C.. '~ ... I /I Kb ~ : Ba •• ..I: I .:.....I ~ ~ -rt .1J1 .) : Open the hi-hat gradually to give a crescendo...-. (Dr.. I : ... k :1: 1 ._::. ---- I .. ._... -8 .. ~.--.. :>~ .....( :Ie :Ie -... •• .-II I~ -.0' ____ inb.. r chao _...'" jf':-----._.. cho. ok :I: l ~~~- - r--== ..---.. ...~ Jt "".... I "I . .. --------- w... li! .._ .. f1T----- Gt..( " 1 ..... chao 11...-----.( L ..1 I~ 1 :> I ...I JIll Em 8m c Em Bm c Va I'~ I I I I ---r-- /I Gt. . cho. c - ~ r-r:=:! ~ Dr ·1 : ...-~ ----------.---_ =- JIll Kb ~~ : it Ba .... I' ~ h ... chao chao I r cho.. c h 0. ~~ c h 0._ chao chao II ~ ~ r. eha. o~ .. Em Bm c Bm Am G G(onF) Va ~~ " II Gt.- . • f: ...- I I~ ~ cho. ---------------------------------63--------------------------------- ... ~g.. t> ........ vib..( 1 I ..~ [ c/:o....~ ~ JJ J hhJ ~~ ~ ~. .

._.. 4 Repeat & Fade Out 1 j) ----------------------------------64----------------------------------- ...ing for Is This Love ~. ing br _ ~ .:-.. ~.... ----:--.. ...! 1JJ 1 Is This Love__ Is Thio The Love (Ix lacel) ... .. ...: '" I . [J?-J ._.. : t_* . ~ "4' 'Glo~nrrrd i'tI r-'1 ~ ~'- r-"1 IStringsl Sa.II Kb f"""I ~.. lxtacet " I Ix tacet . _... I : I I ----18"" )----. Dr ...~~JJ 1 Gt.h 1 "'" Of lJ')t'" ~ i"Il I I hI h1 thh Kb '" ~~ ._____. Is This Love _ or am 1 dream-ing Is This The Love _ thai I've been - ..~ Vo \tJ F C . 1 .. 4 searcb Gt. +l. ..ing Is This The Love _ "~ Gt... '4.-II I .. D(onC) .-J i~ .- Of n!1 "I n-!"d ./ ".. -:-.".. D(one) ~~ II . = ". : 11 I 1--11 I 1 1)1 j)-i) ".'-f . ...b--... ..I ri:11 ~ h. -----....... Bm I that I'm feel ..iTl!. ITJ Is Thio The Love Vo .8va . .. ~ ~ .. '" --I'l rr1 h....1) /va . _ that I've been - ........... f ..-J J ~ ~ri - - ~.. . I "..a..-: '-" Sa..... ....I: !!!*!!!! 1 .. .... ~3~ . /...I". no!... I I I J I IJ J J . .Ii J Ii:: --U I CBmAm 1 G =:.... ...... .. ~ ... AI : . l)'--'LJ C I .r.__j'~ :J" i I '" I~ Gt.. -.- .... Bm Am G --- search ..... "...I:!..... ..J -...... I 1 Bm f I f C ..G(onF) ... . .. ~ Dr ...I '" :riJ-------..............

) : Drums in unison with the bass.J Pick Scratch A I I 0 I : Gt I... Vo " " . BASS: A straightforward 8 beats to the bar basically.. DRUMS: This track needs a hard and heavy driving beat with the hi-hat left half open. & WHITESNAKE MUSIC LTD GUITAR: The backing part for a second guitar has been omitted from the score.-y - ~ I ~~ JJ I "" J J : Ba Dr : . This is especially the case in the second half where the track builds to a climax..J Pick Scratrl ~ 1" I : ~~ --. The guitar sound is hard with a lot of distortion.. together.) : The bass and drums have to be exactly together for these 16 beat bars.) 1987 by WHITESNAKE MUSICIOVERSEAS) LTD. Aim for a solo in which each phrase is tight and controlled. but watch out for rhythmic variety in the intro. and the variety of sounds in the solo in section If] will present problems if basic techniques like right hand fret work and rapid phrase runs are not well grounded. ).. It's again basically an 8 beat rhythm. I Dr (Ct. .. Play the 6th string with the thumb of the left hand. o " I c:J bd . I [ntra·1 "I" Vo Gm ~.. -----------------------------------65----------------------------------- . you could well get by without one on this track.. but with 16 beat phrases at the key transition points where you'll need to play extra tight. in fact. you'll need two pedals or twin bass drums for the rapid bass drum beats here. where bass and drums have to be tightly separately... This is the main riff.. (Dr. 8 8~~ Gt : Ba I : b<1 ~ - -- . Powerful strict time playing. Practise the intro. Coverdale & J.-r""19 I ..CHILDREN OF THE NIGHT by D.-- ~ J--" A t ! 8 (Ba. Sykes Copyright. Gm ..l . using a pick. yet flows into the next.

. ---------------------------------66---------------------------------- .! • are lite born get • back hit to in the You " Gt It..2. .t. - I'm in feel I . . the your show I'm gon-na .l.I" Gm Vo 't...i_ I J 11 ~ 1 ~ F3 rii ~ I rI * " .I " : ..t+t.. I I I I Dr.t.. : Sa.J (Itls)time Let's __ see got cane Dr " .J. J ~ :J~ : . .Le 1 ~ 1 I I .ii '--.! Just ._ • for re the a 1 I -Aec ac fe Li.qers .I I Gm . Ba Dr : ..! 1 L ~~ :. : Ba ..time Straight) J ~.._ 1 ~ J _.! I'm _A get-ting I : I .! - ~ j : ~ _=i '----1 I ./ J ~ .. : 1 I ~ Gm J ~ r-l J J J 1 ~ . 1 I .. - er I Gt t.. ~ .2. Cos Cane on an' rock an' your fin .<ow Let the the you _~ ._ rrcod Vo • to what ..J and proud read turn sic fire ___ yru. tion tion ver closer .! _A ~ I •• J y up er the mu I U ~ 1.._~ boys ___ spot ""re __ Vo .r::"J • fool a round Make it in my soul live learned J laud ~.__ Gt t. . (D..S.

) : Mute the strings lightly near the bridge with the heel of the right hand and play with a staccato feel. '-J g..._.._ ~ 1 --j v-_-/u l( -I you Vo . (Ct. 3 3 J ~ .-" o 0 0 -"'3--"3- 1 :-5... Don't -&hide •• what you town crowd roll Don't \ DID for cov - " Gt . 1 ~ -I- 1 U ....... " g. TJI~ . Gm 2.:.-"'---6- --~- II r l . .y " Gt oj ~ g. ----------------------------------67----------------------------------- ... ~...... I J '----' g... I" Vo ~. "~ g• I '--- ~.! L 1 --------I 1 ~ Dr r LJ ~ ... : Ba L--J o~6-?- 'g. -& Just . D t - - ~ : So Gm ...I. If~ I I I I IT I I : 1 I F 1 f 1 I t f i ~ Om . • sic ~ ~ ~ ---t ~ ~ f... in -e. : ..... 1l I) 1 I( I I U'l-p ...J1 ...i de__ Don't • let &-&--t . ..... I : Ba. 6) (Dr. . I .n I •• t U i ~ j_ : l) n I ~ t ~ t I t ~ 1 U -&let n~ ()~ 1" Vo .._~ F the ~ dJ1 - Y - bod _.~ (·)=Mute stand mu - . ....i...oj ~ feel ........ . . .. 0 I jit-. '-' J--3--3 Dr. -+-+--1 _ .. -- -~-- 111 I ---H I 1 f 1 1)1 b - i -~. ..._ . . burned ~ ~~ L ~ J I :. r--. in your way U ---. I 11 g....j '---" I r-E - ~ I r-.. J I I Dr ·1...t! J - \ "~ g. I" : ~1 '~I ~~ - . . n= ~ g... ... but leave a split-second between the right and left hand strokes for a more powerful sound.~t\ i U _1 r ~ ~ high 1 I 1 ~ Grn 1 U F {I '----' t t I/U i () t I "...) : Double-handed flam strokes on the snare.....L : Ba ~J=l.. I IT' g.. f.. _A_~'-' er _i:_t_ -&- •• ~ take Ncrw are you read-y to rock_ " Gt \. c:::t::::t:d -_____ V ~~ .

.. It! : Ba J I I J J J J J I I I I I I Dr : 1 1 1 ~ -&..-. . ./" ~ ...I" J Gm ~--1= ~ Chil dren -I.1 ~ ~ ~ You got the p:::!W - I iU ...'1'1 Fi ~ )'-\ .rT ~ _ii ... ~ J J J J Dr : .......y to rock_ -1 " Gt t! : -i I ~~ L L - ~ I ... Night •• Are you ~~-I-'_/ read . r--c:..':-' g.S. J ~ .. 1 I 1 ~ [Q] ~ 1 I Gm 1 ~ 1 I 1 ~ .. ~ 1 ~ nl I 1 LJ Ii D...19: '" : 1- J j'~1 J l -- g ---------------------------------68---------------------------------- .r-E J J J J ~ J \ : Ba .. I I r--- .... J J J ..of Vo ~t! . Gm ~~1:'Chil dren • .. you read-y to rock __.~ . --+-+-+-+ r-:. ~.I: Now are " t! Gt I g. • .. _.__ T T-....""..f.. _..-aOf The Vo It! • Night -- " Gt......~ ~!.~ rE ~~ ~~~i.1 '/" Vo It! t~. ....e J J - The : Ba.. tJ 1 II ~- = Dr .

(.. Gm .'F ready E .. ......11 f:.H..Gt ~ I J J J Ba...) : These bars are played bottleneck style....& Arm..... l ll uv u .I " Vo ~~ [Bottle " II Neck ~._ . 1 .Bi Fi t tr Fi+ t~ tr F9+ tr FH F9~ I : Ba 0 I . G (Gt.. + t r=r: f.. ~ ~ '" /"""'. Harm.) : Right hand trills on the notes indicated by the arrows are produced by rapid alternate hammering-on and pulling-off.. ~ I Gt I~ -e-~ "" Arm.bd -c- I L. "" : Ba 0 . tf.bd LJd lJ .= 18va~ Vo R.l~*. ----------------------------------69--------------------------------- .. .... "". ~ .l : John uses the tremolo arm forthe 3rd fret harmonics....~ to rock " Gt 'I . but any hard-edged object will do to slide along the strings if you don't have a proper bottleneck bar. ~ -:r Dr : rF9 ~ Em I FTi ~t F"F"'!""I "*bd LJ::::I bd 1 1 ~l -*bd L.. Dr ·1 : • (Ct.....t.. v 0 -w. ..00 •• ----.-- -. CIt (Ct.. . & Arm.I " •• Are you ~ . + t~-it~1tr tr~ i t~#J 1 tFi ~ t r=>: c:::!! t r+r: --{8va~ t r+-: ~+ ~~ tr ~ Of h •• Harm. Use a box for a more effective sustain.

. ----------------------------------70----------------------------------- . . .. I i r ~f I1 ~."". Gt 1 L ~ ~ ~~ 16 2B lr~· ~ vib.~ I- "I LtJ LU : Ba ~ 1_ .. e 7.... --v .. (J 7_- .... i bd bbbd b:b::bd bddd .~ ~ gtJ 0 5 r' ~ ~~ CJ ... -z. =-L.~'''.Il~~ '.. "" Gt I i8va--....bl ~ I I CD (Ct....... : J bdl _:C'TI A=A 1_ ~~ri J 1_ 1~ bd I 1 bd L. 1_ <> bd Dr .:::. ...... If your technique is simply not up to that speed then try hammering-on and pulling-off through this section (we haven't indicated it in the score... -Gt....I " ~ Em Vo ....~ Vo bd L.1._ ~ : Ba -#-#v . "" r C1. --v • • ~ ....bd ...bJ Em ... Dr . C')=Mute .. though)... .I " Vo .01 ... ...:=:Fi l519'~ _5 .. Em [[]F -(8v~~ C G .'''~ --7 ~ : Ba o - « - *- Dr I : ..:= ~ T- u .II-*F--- :l 1 V J 1_ ~ L..~ "" Gt • ~ == b:d::d::::d Id:::::d::::d = -----=!:_ v • ~ - .~ o.. r u ~ ~ I .~... Arm...Solo~ Arm... .. »>: "" .) : John rips through these bars at a tremendous pace.-. .. vib. --v .

~ v ..oJ •• '. 1 ~ )(fj ~ I Gm I" Vo . : Ba ~ Dr : I . f 1 I...) : Note that the here.dren Of The • Night read. : 1 I c -INow 1 ~1 b:d .ro rock Gm @J /''_ ~ /'. ~I 1 f 1 I 1 ~ 1 I 11 ~ 1. I ~ J ~ .t: . you 1 r I 1 bd "': . 1 I 1 bli t 1 bd Ill! • are Vo .2.Q.y I Gt loJ ~ 1 - : ~~ : - ."-----' Dr....k1.. : Ba.t: ..! nl I 1 ).~" ~ . -rf 4..--- I---.iD.S .t:.. Chil dren Of -a- ~.. "" Pick t Scratch .t! J J Pick Scratch ~ .A Vo " It B c ~oJ "" oJ Gt ~ . ----------------------------------71----------------------------------- . ~ I I r-..... .. I U 48 (Gt. I : xl II I . I r 6d ~--------------=--. _______ _ - ~~= _____________ =___________ ICV I 4D) _.Q.. Gt " : Ba ~ J ~ r---I . n U C # is held through 1. ..ting The Night_ ..: I'm get . -aChil .C~ Are you read-y to rock Ut. I I I r1==i Dr...

. ~ -'> Dr : ~ I n.." ! :!_ .y ~ [ffi ~ .: are you read...._ ~ r-:!!~!" J J J ~~~i oJ oJ J r-t! oJ J J : Ba ~1.1 I > J J oJ J J oJ J 1 ~ ~ 1 ~ I Gm ~ j( u~ bd bd I Chil - dren Of The Night Are you read - y to rock _ ----------------------------------72--------------------------------- ..... -> ~ 1 1 J J J L..J 1 1 1 1 . Chil .!J J I g. .Coda F ..1 Fi I ~ ~ Of The Fl 1 I j( .__: t Are you read...1 r-..! ~t"t Chil dren .. ". . 1 1 I I""- --' "i~ J J . .dren Of ~ ~--' • Night .: I~ . .. Gt 1--' .-= .y to rock_ NOW' to rock The " Gt --r"i g... Are you read-y - Night _ to rock .+2...:» Vo ~t.... . : Ba ·W -= J J J J J J L Dr : ~ Gm ..... •.I" Vo .... Gm ~~.- 1 ~ L L -t -----.

: JJ L ------ \ \ JJ : Ba -B----ffi-----T g...1 II 1 II 1 II I Gm I ~ V fc- I G U -I. J I J :J:J ~~~:J#~ J : Ba J . I JJ : Ba... _..oJ • er F Gm - " f) Gt 1~~ : I _.. ~ . I :::::r:hfl i-~ ~#~~~i:i:~ r-. l------. to rock Q_ fcChi 1 dren -I.~ Of The :A Night -1-: " Gt oJ r--.. . I ~ _. ~+ 1 ~ r I n~: . r--..: Night __ F • • 1- 1'>- • ~~m -f'- _'_. ----------------------------------73----------------------------------- ... ~'" . """"""" """"'" """""'" """""" J JJ Dr : Gm .. take Gm ~ you fh.........Gm . ~J !::~.. _..r!..t.. r0o- _." :J~ ~~~i:~~~ J JJ ~i:t._ J J J L L L L L L Dr : ~~~ 1 I ------------t ~ I f r J-: tit: r~fnmhl PF I t\-=- . g.. . J J J :.. ~ 1 U F JJ J1 1 l L t111 J J JJ I I I LI I I I 1 I .:"" _.. ~~ :J~ :J./ F Vo " fSo Ijust ~ let fcthe Q mu B~ F fesic _..... Vo ~oJ Are you read-y to rock_ rock rock " Gt oJ .: Vo ._r-..._ :J-J-:J:J ~ J _. r--. I : T~ : v...______--v L.. _...... I J J -J F=!='F'i •••••••• .. JJ T~ J ~ :J:J ~~ ~~-J-J r-!! : ~~I :Ji: : JJ •••• J JJ J Dr ·1 I" : -1 ~ ~ ~ ~ J 1 VI .. ..~ ~ ~ I &..cs: . ~ _. ... I ~.____>Y IQdIJ ~ 18va Arm..i ch - ./" ~~ ••• Chil dren Of The A..f) Are you read-y .......

its 8 beats to the bar phrases need steady solid timing. <.STRAIGHT FOR THE HEART by D. I : I ~ "" .& :: ~ :. I provides the backing for Ct.~ "1I pick scratch Gt.~ pick scratch ~ o· " . 1987 by WHITESNAKE MUSICIOVERSEASI LTD & WHITESNAKE MUSIC LTD. Sykes CODVriOWC.S 1- . "" Dr.: c: : Ba. Ct.lI's solo. but the bass dru m upbeat creates the impression of 8 beats. B- . so don't let it get behind or sluggish. IIntro·1 .) : Use a sizzle cymbal for this kind of continuous sound or else playa continuous rapid cymbal trill. DRUMS: A powerful flashy style is what you need for this track. There are 4 ride cym bal beats per bar. giving each beat all you've got. but as usual.-I ~ i' g. but the high register needs to be brought out in the solo by using an equaliser or a wow pedal. so keep the 8 beat phrases tight and snappy.) : You need a bright pipe organ voice here. ---------------------------------74---------------------------------- .. C U ITAR:Th is is the fastest track on the albu m. j -- m _j " I o (Kb.. This bass drum pulse is the key to the rhythm in this track.I is also overdubbed to give a really broad rich sound.I "\ "" Kb. but Ct.::. The tempo is really fast.·11 -. ~ :U . I·: Illi ~-O t: ::~ t . All three are played with hard-edged distortion.1"1I G Vo . • (Dr. Gt. BASS:You mightfind the bass rather difficult to make out on this track under the very rich guitar sound. Coverdale & J.

~-- _ . .. '--3._ _u -v g.. ~: ~JO AlE ! ~::~:= :1: : I . f - .. - IE - := = ~ ~ ~ :> ~~ 1 . u-..- Gt. If r.. 1 :> ~. -~ I . . K'1r' ~ .- Ba. l) '---"I n -- f.@. g._ .- . I -. : .-' .... 'fill u ~ ~ 'I:V ~I ~ ....r-r=.-I I J =o:': ~J ~ 1 tJ ~ :: I • (Ct. "0"... £ Kb... --------------------------------75-------------------------------- .I oj . ------::v ~ fR-I-"--W. " -r-- I Gt... ..--.·1I I t! tA==.0/ . .__ ..) : Make sure the timing of your bending and vibrato is well synchronised in these 2-guitar harmony phrases.b 1.@. G Em Bm c Vo ~oJ ~ Gt.:'- Dr. 1 i :. l:::. --..

uib... Ba. . a ""---'---'---'1 J Kick Ev ery The The bo way kind dy says Vo..... Vo ~tJ " l# ~J ~~/~ \V~ ~ I ~ul J "'I -.. ~ ~ " Gt.. I --------------------------------76-------------------------------- . you you an of - that that ing you're I cost down fron t love your page door you much .l.:---:~ - ~ --8___j : Ba . J 1- I I o J n--l::1 I ~I I :> I l.S.~ " ~J~~J :~e-. ~oJ I'm 'Cos I You com I've nev got 109 been er the round hear loved love mg " Gt_-I oJ to a a I See bout __ worn dream ~ ..s ~ vib. .I oJ T ~ ~r:. .1 ""ho 1 oJ II r- .. .. k ----i'l .time Straight) rAl G 8m .. SQ .... . I 1..~ bI ~O~ h ~. I _l . .__..I" l# o C o NC .. I 1- Dr..- Gt. I: 1 V 1 1- 1 1 1 1 --------- 1 LJ C 1 1- 1 I r--.-I I I i'lcho. ..G . Kb.. : .__. " II ~ . ... 1 Dr.. I I I >- >- V ~ (D.tl>.&2. I. I 1.____ _u ...b )~R ~..I" l# ~ la la I..____..

.=_~=::_=~~~__ = _ =-=-=----=j=~1 _ _ _=: _=_=0_=_=. .-- Ba ----r-------r-- • 1 I 8m • - Dr.~~~~ -Gt. can't all what to 1 ..J J~J.es ___ i.U "" --------llJi Gt.ly Giv . ~.. • and de liv- 1 VO.) : Hold back a bit on the volume here so you have something in reserve for section lB.( '--'L._..( 1 . ~ you round the ba .. I. " : -i.. 1 .. 1 ~ C I.-IJ ~ --~ f---- -- - ========-===~c:_ ====~~~===....l 12..-'" Vo ~t! ..J Em 1 . er J all • to es kiss . c G 8m c o 1 J ... . I : .-I I f- -- r -'L-. --+-- . thru. [Ii] Em • ~ .=_-.__ Stand I J tJ ____ p -. • --.-r--- -- Just COy I've it I me got down __ can't with -... Gt. 109 don't know rend er take the boys you're put my no more the blues nng me touch • .~"~=:J1~' I=~..::::=--=== a Ba. " It! ~ " Gt.-I t! r eal .P girl the feel by J town ing I I You sur - " ..i--T--- ~ - ~ ~ ~ -- -d V -...( ~L. Lay ing .( I .. e ---------------------------------77--------------------------------- .-. -------. -::=:::_ tell a cape .I t! ~. (Kb._ ---._- Kb.~ . .

_ r--. :== ~I 41...__ Dr.. r-"'1 . :::::-- : Ba."'__"'_ II II _~:::il J I'll So tell you try what I'm to un gon· na do cler· stand v« 'ti mute .... ----_ c Bm n.. ---. ..) : Note the muting here.J 1 1 r1~1 J""___'-U ... '" .L__.. ----------------------------------78----------------------------------- ... tee your Bm J---.. ~ . I I - r--. :: "II ~ _... ... ... ~~ . -----+----..~f")" ......---. ~in _ D . I'm My J .. .. ec . . _ I'm go r-8va Il I Gt.. . the name of com ..·1 : oJ .--------...~ -------- Il II Gt....·1 ti ~I mute . l.:::::::- . Illl~ .... .... ..j ~::::::1 I 0 mTfte ... Beginners will find this part difficult. ~ ...___ r--. ----------.J.. -::::=::: . ..-- harm.- EL 1 W .. . ing heart mute you hand Gt.. n ----J af is in __ . ing Straight For The I~ oh harm...J.- .. ~ . - n ~ -1 L .. Vo. = ..'----"'. I ~ .....Illl~ . I ~ -. ~ti II II .... _..Em '. _ _ 1 I ri~l J""___'-LJ 1 f 1 ri---- ...-II r-r. " 1111 Gt. -- .. ... : 1 '--'LJ Bm 1 1 1 1 V""___'-L._ - Kb. :±=: 4- !i-"... Love c Bm Am ...-II oJ t 41) (Ct. 1> . . so practise until you can pick each note muted with the base of the right hand pressed well up against the bridge.

. D c r I ...". D c ~ D G ~~ . 5.. * ~---LJ *. : 1 I *.-I ~ ~ 4J. I f\ I \ --... : > I ... I. ..___.____ " .-- I ~UI I u r1 ~ • I '" ~ 4J..~ Va [gG . ..I i~ ~ 'V . .... : I '" 4J._.U I.~.. ... 1..-----:-. I v I I I I.t I le] For The -- Heart ( for the heart ) Gon na drive you era zy "" Gt.. 0 ~: • .----.-1 1 I t t 1 * 1 I Bm t 1------ 1 LJ c * t 1 I * t Heart ( for drive you in sane " Gt.t:} ti: 0 ~: 1.--'-------- -- D.. the heart_) I'm gon· na "-.-I I ~ "" "II Kb. Straight ~~ ~~ "" Gt....~o •• Ba Dr. 1 . .. ---------------------------------79---------------------------------- .

~Codal... n- :u -~ -- " jj .ILl _1_ . I " Dr. !. /. harm... . u' <. .~ :~ -------j ----. D "jj ~ t _'"- Vo .®.. Heart " ~------Gt. . Dr. 1 J ~ 'V'-..·1 I rr-"jj...~ "'" <.::-:g. I : J W ~ 1 II I 1 "'"'-.: . .tJ • Straight ~ For __ . : .. The ~."-::~ tJ --t Kb..- -'-----~ f3t: Gt. '" ---------------------------------80---------------------------------- .·1 tJ 8va harm. t -- Ba I <.

. Dr.C..-_... * f.----.. na drive you in sane ----------- "oil Gt.. I....." ___.. o zy C ) Gon ... Alf ~ --::0 B t: .-I ~ I I . " oil (~ ~:~. _r-1 '" I c. 1 ~ t f... o Straight For The Heart ( for the heart _) Gon ._. : ~Ir=.-I I ~-6 ~ I ~ ~'IV . 1 I t J ... ~ " II GUI '~ 'V v Kb....._ _U I • .8m Vo "" ~~ ...:-:..-::... J\.na drive " Gt.~~ t t a t: ._ : Sa... n '--'I C "I 1 ~ f. "" vib.. . . Straight For The G ~ Heart ~ ( for . .... . 1 ~ o ~ 1 I vLJ N.- 1 n d '<:J . C the heart __ ••• o .... ~-~ you era . ... ---To- -----------------------------------81----------------------------------- . 1 I) C ~ f. . .. I -'---I---•..

I" : ~1 '-'L.___ J I .. :1 1.t.t....-II tJ ~ . Kb...:. r.. ~ ~~-- I I!!!!!!I!!!!!!I lh.. -II" che.1 '-----W J.-I I tJ I= .. ~ . /..1 LJ 1 1. I . g..~ r-. I o· ~ -"---' " Ot.1 .t..:.'. ------------------------------------82------------------------------------ ..t. vLJ .L.. " : <... 1 t__:_j 1. . I .:___ 1I I j ~ ~ .tJ " Ot..J i i-! • (Ct.D... '----'LJ .... 'I I cho. -- - -II" ch.I" lli]o c B~ Am Vo ~tJ " Ot.. pp+. . " : : I ~3~ -3~ L0_j ___ Ba. 1._ h. '--U o-. _ t' r"!-~ii ~8va ~ ~.?:-...~ ~h.... .. 1*- .. . but they are so together that they sound like one. - J B~ . . Ba Dr. ~~~t~: [!d:..1*-3~ . . V om L.. ~ ~3~ fi:.! Am .. p.. A.1 ~ L. :1 - i . <..t.1 V"---L.-I tJ ~. vib.J~W c Vo ... 1 1.-8va~ ~ r-r-~~ ~ ~... I '---- .I tJ _____ - I I J -t:H I .__ -. ..J 1 :1 1- 1 Am i 1. I. 1... I"""""i .. Be sure to stop the second string smartly.... ___ _ • * . ... 1- 1 I .:'h. ~'----W l /.11- -- ...4 P"= '{Jib.) : Both guitars are playing here...J 1 1.. J: -~ 1'1 Ot... Kb_ I..

·1J ~ " vib. ... t'i f~} r--1~1 l5--~ n~1' J 1'1-::-1'.-=.. +: --_" --1> ~ -- -:.!--...J I ~~ .:r. leave out the upper line..' -:.· I ~ .~ '"~ .--- .. -~- Dr.~ " Gt.-:..T' . p chao p..-. chao -- _ (8va)) ~ - Kb. p..lll is playing the lead line. ~ ._ -- r~i C 0 ~ ..I 1 I'l 1\ uib... ~ [k------..--. L_O -~ Gt. _. .-I r--.... J 1 ~ ~. ---------------------------------83--------------------------------- .2:::=:l:'. j .. " Kb.. '- Ba. -_ n~J 1'i~1 I ..·ill _. g.----------¥ -~-=--++ '--' ---j- +_.. """""'_.-t-- ... g...__ .nl~ I .ill IGt.... I . " Vo ...I" : 1 '-L. cho.____- -*I~L..Vo " ~~ Dm c " Gt.+- r---t· 3 " o O"'w--fBj_B 4 t 3 + -:i~ -t-~--t-+=~---=--+-~~ 3 ~1b_Ar--~e11~ +:: + nl--..c_--=v~E kl --+--+ JJ~ (Ct.. '" . ~~78va-n~J Gt.:_ ~ ~ ~ ..) : In these harmony phrases Ct.J 1 -*1 1 I *1'---. so if you're using only one guitar.. ~:-U ~ '-- .J c + " 1 I Gm *I~L..--. I .J 1 -*- 1 I Am .r-...U .. p._"--"'__"':: .I c'*.. : 1 ~LJ -_T-- 1 1 >:::::1 -r.J"'r--} Gt. . l~ " : - Ba Dr. ~.:: ---1'-- ..~p..1' . 1· : ~- --¥..--&--t_.J-~ f::.

... ~ -- Dr ·1 : 1I I- 1---1 1 > J J - =1= -~ . .. ::1-_ f-----tf- /' I 48 (Dr...Dci-J~ Kb.. ~------L. 1i_~1 ... .J II Vo .. .) : The drummer needs to have a wind chime set up in advance next to the drumkit for this part. ~~ 1 ..------.- . I.. .. _@ ..----.. .-.I" : ~1.. r----=-..: 1 ~ ~I - I. I n~·tJ~1 r---1 ~J ~ 1 i~J.. I .....----..... I Ir:=~l J + 1- 1 f rl:::::1.J + .. .'"_@ --==---=:1: ... Ba. ----------------------------------84----------------------------------- .~n::J: I ~chao :4 >.. ~L.. Dr.-tt- .. =::. > - ~ F &ll =t= ~ . I ~ ..- ---. . ~::=:~U " Gt.. ~ ':::-: W· ... '---I--- ._ " Gt. 1 ~ ------L.2....--.. .----.J:::{ <. " : s-~ --:s- ~s<.--~ II -. .·r oJ . --~ -....-.·11 oJ ~f J ~j) H. --_... . 1.2. ~ -LCL 1- Wind Chime . .~ .€w.. .____ n ~.Vo " ~oJ c Gm F " Gt.. Ba. .. . I -"._- . . I • .... I~j) J I j_ h i"l. - I III_P Kb.! uJ~[7j I~n=..·r oJ I <9- .oJ " Gt. " : --.r -~.J + . 1--------...- • .-II oJ .~~ e - '.oJ JJ . ... I...

: t----=~ . .· ~ " . ~ ~/ ___ v:/. Ba.Jr-.·ItT f.~~ Kb )1<. : '<. ~ I -------------------------85------------------------- . ..A-.& --. .~ -- 7""...ll pick scratch -U- ~U '-' (8va) -- 'J ___ '-' <. : '" '. pick scratch "" " Gt. ~ ~ t. "'" tJ u u ~ ." v« I ~tJ ".- G " Gt.__ o r. '" .

=:=-~~c ::~=-w_=:....·11 I .:~~~~:=~c~=c4:-~~ ltE~~~~~~~~-~+-+~_-~-+~~+~~...._=-----------.. --.~Coda2. t -- r'1-- ~ harm._.~ --------------------------------86--------------------------------- §..~t.I ~~~ __ ~~: ~~.----. c 8m Am 8m C Vo.. ~l~~i:d~~ -- .c~ ..... Gt.... =-~-=E-J1tt-=-L--=bc---tfv=~b-!~t~-g~t_u:~-'c=~~-==_.-- Be'a harm.L~~ stand _ I'll Gt...l ~ . I -_--TGt...

II

..

[II _{;fi

G

o
J
( for

Vo.

,.~.
c
...

o
.. t:.
na drive

t

.. ,:__;!
you era

~G

,....
zy

o

c

, ..
~
Straight For The

~~
II ..

lit-art

the

heart

.~_

)

Gon

Gt.·1

~
-"'--.
1\ ..

:

~

.---.

.

p.

" .~
I
.il
. .

I
v

~
v

.---.

..

i'i

:'--

"-

1

_,

:c-----=

..,..,

J.J

~~

'"
~.

.
..

--,

.

GUI

!~
.. . .

Kb.

I-.
II

,.,

.-:

..
2x

_...........__,.,

-~

,.,

..~

.. ""'--'_n

~
+-,--.

\.

L 2x

."
1
-/

..........

2x

"\

Ba.

...........

-

1
-*f.

Dr.

:

I
I
G

*
f.

I
o

t
c

-J

1.
LJ

1.

1:
I)

II ..

fi

Vo

, , ..:--:.
( for the heart __

---LJ

"

*
f. Bm

l'

1
c

:;

1

-

2x

"\

"·1

1
f.

l'
j)

tf.

./

L-...J '"---" LJ

....•
) Gon . na

o

J 'Ern

!..Iyou in

ii
sane

, ,.
Straight

.
The

~~
. .ILll

Heart

drive

For

Gt.- I

~

~
'V

.. ..........

it

..

t\
...__ ,U

I
I

I
c;

I

-- --...

r-""1

..

1'\
'-.-

I

J

..,

..,;

"J.

"J. ~

~

1\

..

Gt.-II

~

Kb_

I-.
1\ ..

c.

.-:
-

..""'--'_n

..
-I 2x

~

?3-~

...

.. ""'--'_o

_.
._-

-~

f---

:

:
Ba_

_......

2x

\

-,

r-r-I

,.......,..., I
:
-,

.....................I

-

.. .
-~ >
--:;;'I-~~-

1.
W

1
f.

1.
L....J

1

/

1

1
f.

.h--r-,/ i ~
I

11
I

~ 1.
I

>

.

Dr

~~=iLJ
-

I)'---LJ

).I~I

=r:

~

33

---------------------------------87---------------------------------

Vo.

"
~-.J

.:
sane mute mute

C(onE)

,:__,

O(onFI)

~~

..
o
:

C

o

G

O(onFI)

ClonE)

o

C

o

f1

" II

Gt.·1

-.J

..

..

.

..

.

" II

Gt.-II

i~

--

1111 Kb.

1.:
:

Ba.
>

1. I
G

I

Dr.

:

I

I

>

1.
I)

I
I. ClonE)

I

>

.1

I

1\1
I

>

1\

1.

I

>-

1 I

1

1.

>-

I

I

',.
.k. I)

I
l-

I 1. I
I

:>

I 1.
I)

>-

>-

I
l-

I1 I

I

>-

1

I

I
O(onFI) 0

I

Straight

C

III
Vo ~-.J

II

~
For

o

.
The

I
f'-f'-

I

fl

~r:'- faf

Il II

Gt.- I

-.J

..

...

I

.
I

I

J
I

Heart

'J
\;I
t:"I

I
g.

"\

M'

\

" II

Gt.-I I

~
t:"I

1111

.

a-

iI'I;

~i- J.

Kb.

1.:
:
t:"I --

r-:
.-

Ba
;,,J;

t:"I > >>

.....
1.

---------:-

Dr

:

1.

I

I

1.
I)

I
I.

I

1.

I

I .1

j
I.

I

1
I

I
I
..

t
I
I.

-e..

"'

I

I

~

4t=1~--··: .. -~----3

1)

---------------------------------88---------------------------------

DON'T TURN AWAY
by D. Coverdale & J. Sykes
CopyrightC'1987 by WHITESNAKE MUSIC(OVERSEAS) LTD. & WHITESNAKE MUSIC LTD

GUITAR: This track has more of a pop song feel to itthan the others on the album, and the phrasing in section IAlis fresh and light; the guitar solo also has a beautiful flow to it. The important thing with this track therefore is to get into the mood of it. BASS: Note that the low D in the 5th bar has been transported an octave higher in the score. This is a tone lower than the open bottom E on standard bass guitars, so you'll need a 5-string bass or a specially tuned 4th string. A

synth-bass is also good for producing the kind of extra deep thick and rich sound needed here. DRUMS: There are a number of different bassdrum patterns on this track, so study them carefully before you start. Aynsley uses a chinese cymbal for the top, so watch the volume at those places. Technique shouldn't give you many problems, but be careful not to let the triplets become too loose.

IlIlI

Vo ,t.!

LaY
...

.0'
I

D(onB)

Dsus4(onB)

D

~IStrings
IIl1

I_

7

1

~

~o-~

Gt

t.!

"'~-9'

71";-";-

7J;

I'_"Y

r-3-,

3

r3-,

-

.
3

:
Ba

.
I
>-

'-'

1 l3

I

r4-,

V

Dr

.1

:

s:= 1

1.d.
~f

IT1J.
U-J t
DSUS4(onB)

>.,1;.>

.
DSuS4(onC)
Of

1
I


~
~.
turned __ give

I
A I

IlIlI

Ii.

...........,."

r-I
to for You this

~
And on your smiles_ Have you- re e Lr-ways gon - na
I

Vo .t.!

IIl1

Gt

~

:

....
~

You
So

say say

your your

dreams __ heart
ask

Are_burned Is lost ___

ash

-

es

You

no: ~

-

ev
ques

-

er-

And

Your_love

to

.~

tears_ irL_

-f-.. ing __

.:;..,tion

~

1-.
I

Am

I

qon-na

qave

you

All

my_love in_

.

D.S.time

/

;;/;;-.

~

~

D.S.time /~

I

D S.time

:
Ba.

8
I

D.S.time

I

:
rr:::::!
2x lx,D.S.time

.
.
2x

~
lx,D.S. time 2x Ix,D.S. time

Dr.

:

"
o

i

i

i

i

t

j

ti

.

(Kb.) : A bright and flashy organ voice would do well here, played ff to give a big orchestral sound.

• (Kb.) : We couldn't include it on the score for lack of space, but throughout section ~ you should play the pedal point shown n section 101.It should sound like a viol n section, clearly different from the tone used n the intro.

., (Ct.) : Use chorus here without distortion . Smooth fingering on the first string will give the flowing phrases needed here.

--------------------------------89--------------------------------

way __ Try to_ your_fears a .S.1 I _f.. +- lx. Gt..get can't try to for .. .::l1 ri=i ~ 1:1 ~ ~ } .way __ a . I > .D.D.. t! +----- Ba.rout Gt t! ~.time 2x I Ix.: J =j: '-=" : Ba > nl > > ~> 4- • Dr : .gain love a ga1~~ _ _ So You .t! "As And "II you hide sur . J I JJ J ~~ V ~ L ~.fi Id 2xnI L.---i ~I 1 1.time { t e (Ct.1 I ~ UI Ix.t! side side . CP-! 1~J-X.S.ke me Sup .DsuS4(onB) I II ~ DsUS4(onC) "1 Vo ~t! vain vain II" = It So Do you you seems paint wan to me your na You Drown self wei of in - - A DsUS4(onB) cane lone sad ..S.time I _-r-_ 2X Dr.s.ly own ]X>r sor ness - trait your .): Change here from a distortion-free to a hard distortion sound. Or ~re Don't tum you - A I" G ~~~ __ to feel feel do in in -!- ) When Vo .way __ Li.: . ---------------------------------90---------------------------------- ..r~ is Just ~ to all All rreke yoor your .get love fool fool - a .--. It! .PJsed_ from what you frcrn wnet.D.~ •• all A •. 2x i i i i '-tTt t DsuS4(onC) I II II Vo .time I ..raw Gt.. what's turn • a nan __ a . to ish ish G A ~ you pride pride You You should 1111 - I want for . I I :. but wait till the very last moment before you make the change.ren your love __ you • g~~ der To_ a .D.

!i~~ -+? ~ h.. . r---..-- J : Ba. *e • f T~.. • k . '. Gt [oJ -.4-~ .. .. r---. So swer Ha r-m. :4=1.J ..J . -----. -. t ( lS 1.. ---t- ~ r"'"". -------------.. ..Don t D :f :$: t... .. I D '1I1t~.... f~::. the night the fore night __ is gone __ Don't way __ _.. : I [I 1. Dr... Dr.. - 1 1. v~v : Ba "fi-:-'v v ________ - V J V V ~ rI roo-- r---= J L ....:---.. ~ . ... ~ === J ~....-r .d.----..) : This is an important accenting bar in the track. Turn G k-!-~ . Y' • g. ...~~~-#- • . - yf£4!2J J2 vtm II [- -0 .. ~ U o ...a t II D '1IJ1 Va . .. A Be- ~ . '----' ~... f~~~~p:#· ~ V V ~Harm. Turn A- r I D i ~ • ~~ The night .: oJ :jL... F'"I I ~ -= 3-"3- -e--t5t---- : Ba --'----t[ .:::::'! dig:.::::::.. 3rd and 4th beats of the bars from here on.---. so make sure you're right with the guitarist. is gone r--Sva ..__.oJ Don't Turn .. 1..J G 1 ~ A I I if 1.=--t F'"I r--.. f~: _________ _ ~ ~c~· ...: oJ :j:..- . ±----}+-7---- I -tt-l-ho- ~ ... J -------~ ____________ V J F"'""""i V ~ Dr ·1 : 1. .way__ '1'.t" the night __ is ...• A -"~ Don't way fore __ o ver A -way Be - fore_ II» Gt oJ .. and the bass plays in its high register. . (Dr...iI D '------------ .. - __.[gD '1111 Va ~oJ ....::~ ~ ~ . CIt (Ba./ ---------- .. - ~Jl-=tL the night gone 1t£t ~ Be - fore __ Be the - night fore _ II» Gt.._______________ 1.:.r-r-j h.L-r::F=:l i. : -----------1... L.. .Turn .. .c Harm.. L ~ ....t! .) : Note the chinese cymbal on the 2nd. D I -r::l~.--oI - J .~i --j . 1 ~ ---------. I -*-bd ~ U ~~MJT t I I ~ D. G A- . L ~. Va _.. • may • hold the an It! - -- ~... I ~ ~ :.... .---.. . ~ ~ ~ :.. f"'-- .. --------------------------------91--------------------------------- .. Fi'!g .'--------.S.8va Harm'l Be - ~ L =: oJ :jL..J J _ . A. :$: :$: . . 0 t . 1 .. .. .. I . r ~ Be - $ F r: 1. ...tlITE 11. -. .. +L - -..

... a h. so practise carefully in order not to hold up the flow of the rhythm. ~ . n. I . p.. chao : Ba = F=I ~ =z=z: ~ ----a p. ~ •n h... G (Gt. . I : 1. gone the night___ I U Gt. -------~ 3~3 3 Ba. h... 1'-3.... p.. ... . r3. 1 -~ D is .. ~ n. p. • a • p. r--1 6 .I V IStringsl __ D(onB) Dsus4(onB) 2.. I 1 f 1. ~ ~ p.-.) r3. e IlJi Gt ~ . .. bearing in mind the flow of the phrases through the solo as a whole... p ~.-----....rT1-4 3 '=' 1 I A -u l <:Y 1.. h. h~. c£: chao h cho.. 1<11- ~ V II Dr.I : I I 1... 'S='F --. LJ 1 ~ I 1 D 1 t '- 5• 1. -"r4-!. h. . a cho.. r--J -= t ~ 1 ~ D "f • Dr. chao )) c~o..--. 1 t A V JI» Vo . ~ 1"3'~tl r3..r"~ 'JIC p. J~ "----------1..) : The triplets are really important in this solo." • "~~ h.t. LJ 1 bd I r .. h_. J -= ~ ~ ~ V . 3 I I u f:.... " ~ -~ fore c 1 II~ ~ I 7 r+.t -# " ~ : Ba.. -h.) : The sexto let (6 note) and 32 note phrase may throw you out here.t! J r8va_____: p._ ~ =---" If'"-" 5 : 1. I D "~-' ~lJ 1 G -i. ~ vib • L.. D A~ "..±_ . 1.. 1 ( 3 ~~ h..~ 1111 t! ~C~~ cho.::1 V -------------------------------92-------------------------------- 8/ (Dr. .. 1...+p.. 1 v· r 1:.. p. ~ ~o... it's worth practising them bar by bar.1111 Va ~t! ~. L .. 1 1 ~ ~ I A ~3y ~D II~ t G 4-J1 r D I D Va . .. ! 1 --lJ' I~l I 1.. I ~ Dr "~" .. -'1 3 ~ h:Tp.'----" ~.+p.. Gt ~~ ~ p. h.

L ...:» ~ '---.1..:~ ~ 3 !I+1+ Gt t! p-.. : I I 1.. 1 I . 1 I r-=! FI 1 ~J.U I r 3 .i 1'.. u 1'""'""'= I. rv . r--4-.. Jll!I\.. .. " . ~ 1__0__j rTll :. o UJT J ! ---------------------------------93---------------------------------- . ..iI .>'----'. 1 vib. L... Vo . I -------r---: .) : It's easy to rush this kind of phrase which only makes it sloppy.~ chao -0 vib.J F=n FR=I I _______ " Dr . Instead.. L ~~~t ~f=t:~ .~ ~ --. w ~ I ----------- .~1 1..~==--==-- r--4-. ~ D. " OJ ..... I l) ~ ~11~ LJd ! Osus4(onC) o(onB) OSus4(onB) JIll ". rJ~ tJl-. p.~f.-/ p..:.$ p. cho.I V1 I'-J-' ~ IJ~t\ I 4-i-:J-=j F=R=j . n I ~ ~ r---: i. p.S Dr (Dr.-"j g. h.. -*f I . • .... ~ ~ .... =zr g.. ('):Mute R=A ~~... V~ p.. keep it strong and accurate... V t\ . p.+p. Jl1I D G A Vo ~t! _. _'1 .. ~~ p. : Ba r-h~ I ·1 : -0- rTI:-J..~ ..~"l:..4-!.+p. chao chao =::i:::::i ~ • 4-IJ~u I 3 '-t-" : Ba .> - I I r-"~ 1-1 ~! =r4-..~n· h.. t! h. .. : . . Vo ~t! JIll L.. ... " .r p. o(onB) Osus4(onB) i~l I ! o(onC) ---. ~ o 3 <1 : Ba j' ...'"-~' Gt ...dl! 3 cho.J JI.t-J .. 3- F"I<.t! cho...LJ 3 I :> ~ .. ~ l_ I • ~ 1 ~ 1------ IR Dr . o I ~ -~ Gt It! rh I -7.~ 3- ~ g... I ~~ ------- ~L.. L..

. ~ <:» - F==I Dr : r b:I 1 b:I . i'i " '----41)-- V - . mentioned can..· v h.) : Here is the low 0 we earlier.Q)-~ Ba = T1 .... ~..~wm~6 II aNo = I L... 3-'E 4 ===d _____ JlJI m _ _____ No __ wa1k a- way _ Ba.-B- ...c nTn _ Be - fore the night 1S Gt oJ f. by I : hJ - 'F~ ...) Bass and drums together here. you'll just have to play higher as it appears in score...~wm~. must be tightly . 4' H------ffi::::- r~. J I be .. If not. 1 V 1 '1 : =t \J :-. separately.. . "I Ba "I -----Dr~: " 79 I I ! " "I JI» Vo ~l~~*~~l~~*~~~~~~~~l~*~~l~t~~I~~l ~LJ V U bd ~... so use a 5-string bass if you then tune your 4th string Otherwise... it an octave • (Dr.. way for Ire I..oJ gone s 1I11 Gt loJ hJ I I 4- J _l Don't Turn __ A . ----------------------------------94----------------------------------- • (Ba..~~.

~ rre ~ And I'm can .. 1 ~ i ~ ~ Dr : r I l. • (Kb. i:::::C::Z:::j " I Iv -. .tt-tt)(..- --.- . your lov€ __ .. r1 bd bd ~-#-#- 11 ~ i ~ .by ~. .~ • ~I. Vo 'U I need_~your - ~ love ~ ~ need_~ II I : .ing for you ba.. bd bd 1 . J I ~~~~ 4D I ~~~~ ~~~h .oj II. -4D~ U Gt : Ba .f=M-t~ .l : Use a rich fat organ voice for the continuous backing chord from KOJ on. Great care is needed with the rhythm.tt-f::- • ~""-~~ "'_.:f:-:f:-# x• ~~f= Gt U I '-"" : Ba. -4D~ Fade Out • (Gt.__ :e: I ~. ...11 Gt. --G>~ . Dr : .n-- Vo 'u IIlI _ .. = F=i ===-- "'""'= . =JOoo.- --- ~~ : ~ Dr.Ill.. " .): A slightly muted sound with a deep delay will give you the necessary breadth here.-- ~... :eo I ~==== : Ba '"'= ~ ==t::=::I - ~ === .11' I:Y" -rr -n Q)___j Vo .~. -- l___Q) . loJ e:::t:::===I ====== t:::::::t::I::: ~ -.I1l. .I 11. ---------------------------------95---------------------------------- .

Sign up to vote on this title
UsefulNot useful