TABLATURE EXPLANATION ‘TABLATURE: A sixine staff that graphically represents the gultarfin- ‘gerboard, with the top line indicating the highest sounding string igh E). By placing a number on the appropriate line, the string and ret of any ‘Rote can be Indicated. The number 0 represents an open string. ane i JHE Sees ae NES eS Definitions tor Special Guitar Notation rote rip anaro: mana evortey Sewer ned ec remoe t BS cc a ‘atvensong up ts ee Sime Eppecome mans, onto tenance BIO: Same a ators, caine eS — aaeseen caer Ss a Cee oe 4 30 ‘olpiothe ne toh ANUARY f82,GUTAR 3.GUITAR TAB EDITIONS Exact record transcriptions written by the finest guitar transcribers in the country. Each book features standard notation and tablature. CHET ATKINS and MARK KNOPFLER — NECK & NECK From the burning county gutar of Fatty fae to he eto Bangs “Tears tthe goo baad “Taian Seen the gular work ofthese fmasershas been ving tansorbed fromine som Other tes nce Ft ine Te Hest Tein Town, (Poooeatn ste3s JIMMY BUFFETT — SONGS YOU KNOW BY HEART “Smmy/s greatest win athe guitar bars ‘vanserbed of he abun ne Ete Ghoessburgr in Parade © ome Moncay © Fins © He Wet {6 Parse Margatavies SonotaSonct Seater. (Poresern sie CREEDENCE CLEARWATER REVIVAL — auiar ANTHOLOGY SERIES A of CCR greatest hits. neude: Bag Moon sits» Born on he Bayou SDownontne Comers Green vere RavevoutverSeenfieRan? = Proud tary how Stop te Fan Crossed sie 88 ‘THE DOORS — curTar ANTHOLOGY SERIES 20 TmeDoors greatest incuding Hele. Love ous Ugnthy Free Lore ‘ouch Me Twenteth Century Fox (Poserats $1695 EXTREME It — PORNOGRAFFITTI vor lek ff and lead 28 played by ‘Nino letencour. considerate hot. test young gutarat ofthe. 8os In ‘see Decadence Dance ® Gat he Fok Out® He-Man Worn Hater ® HoleHeaned Lidack omy More ‘Than Woras © Pornogafti © When | Frethiseed Yous When m Present lowing Qy Title ID Number LIVING COLOUR — TIME’S UP 13s om shi expiose album. inctdes: ve Ie Oeas @ Fh the Fights nfrmation Ovetoad = Love Pears hetgy Head e ew JackTheme PEolace of Yous tines Up Types Under Cover of Deere {PoesaGt») Gute 1695 {Poesa6Gx) Base Gutar $1695 LIVING COLOUR — vivin Incl: Cult of Personaity # Funny Vibe © Gamour Boys « Made Men © andlor) ‘Subtotal Price sales tax FL residents add 636 MOLLY HATCHET — LIGHTNING STRIKES TWICE ‘Atbum-natehing fot thee eighth ‘bum The 1OWes nud Fina Som body Now e Goodbye to Love # Hear tity Soul» Fie Your Heart © Tako as Lny Home « There Goes the Neighsorhooa (PoerscT9 61495 WILLIE NELSON — THE BEST OF... FOR GUITAR, Al of Wie Neton's superoy crates ‘uiar parts toh greet its Amu {eranyoneimresedin country muse Includes: Aways My Med ® ying Too Gagetotne Ground Eyes Gningi ‘onthe ‘gain « Seven Sanh Angel. ‘Shipping and handling ($0.00-49.99 add $4.00; '$50.00+ add $8.00) TOTAL. 1 check’ Money Order Enclosed Make checks payable to MUSIC VENTURES Di Viea Cy Mastercard Exp. ROLLING STONES — SINGLES COLLECTION ‘Abum-matchng foo of §8 Rating Stones hs in one volume Inctades Brown Sugar ® Honky Tork Women © SimpiJnek Flash 8 (Cant Gat No) Satstactone Sympaty forthe Devt Wid Horses Over 00 pagescrmusi- (PosvoaTx S209 ROLLING STONES — STEEL WHEELS 2 caleoton of 12 hara-iting tes inating: Almost Hear You Sigh Break te Spot’ Hoar tor Slo & Mixed Emotions» Rock and & Hard Place « Sad Sud Sa « Ting, (Posseat0 Gutar $145 (Posse5ax Bass Guitar $1405 JOHN SCOFIELD — TIME ON MY HANDS Job Scofield worked withthe wa ertber in order to produce his albu Irathing foto ef exeeplonal quay [Link] mporanteass Ines and sax par splayed by Char leaden andvoe Lovane Inciges 13 of perormance notes and ead fof enon cong. (PoesacTa) S165 SHOTGUN MESSIAH — SHOTGUN MESSIAH High eneray debut om tis Swedish | foun Thetinettesincnae Bop Cy Dieta Dont Care Abou Noth | ioubere Fast ® Shout R Ou ‘Squees Teas’ (ones $1435 TRAVELING WILBURYS — VOLUME 3 ur atbum-atching foo contains 11 ‘songs inclvang: Cool Dy Places Tho Dew's Been Busy 6 YouBeiongedto| Me « inse Out 7 Deadly Sina © ‘Shes My Baby © bury Twat © You ‘Took My Breath away (Posracrg $1505 Card no. _—— ] Naine ast appears on credit card, Signature. | shire | Address City/State/Zip. Senda: MUSIC VENTURES 15800 NW. 48th Ave. Miami FL 9014EEE 8 oy ALcoont THROUGH THE NEVER This uptempo crusher features a heavy main lick and many time signa- ture shifts between double ime and halt time. The opening lick, in Ffm. moves between the #7 (E), the root (FF) and the sth (CE), similar in'shape and syncopa- tion to "Master of Puppets.” The riff is then changed slightly by incorporating the $5 (C), accenting the titone, and in bars four and eight, the #9 is sounded with the GS chord, both intervals being Constants in the thrash vocabulary. The: oublestop riff in the last bar before the first verse is made up of fourths and makes reference to E Phrygian (EF. GAB.C.D), setting up the key change 19 E minor, In bar four of the verse sec tions, this rif is played in single notes, Using the higher note, making relerence to E Locrian (E,F.G,[Link].C,D), The intro iif ig repeated for the four-bar section betore the chorus, establishing the re tum to the key of FF minor The guitar solo begins witn a key ‘change to B minor, used for the first 16 bars of the solo, For this section, Kirk Hammett bases his lines on B Pentaton= ic minor (&.D.E FHA), sticking to the ox’ form in both XIX and Vil positions. The next four-bar section shits to A mi- ror, with Kitk using A Pentatonic minor ([Link].G), followed by a return to FF ‘minor and the use of Ff Pentatonic mi: nor (FH,A,B,CH.E). Kirk's playing overall ‘on this tune focuses less on epeed and ‘more on the solidity of the lines, rhythm cally and melodically, recalling at times early Jimmy Page. DON'T CRY The song opens with a series of | position chords which are arpeggiated in sixteenth notes, primarily. For the first verse and chorus, two guitars (Gis. | & Ill play similar arpeggiations, comple- menting each other with different pat tems here and there, At the second verse, there are three guitar parts notat- fed: Gir. 1 slashes, Gtr. Il as a boxed figure, and Gtr II in notes and tab, At 2:12 of the second chorus, Gtr. IV ene fers, playing heavily distorled power chords for three bars, moving into the {uitar solo. Siash’s solo is based on A Pentatonic minor (A.C.0,E,G) in bars 1- 5, and his lines are moderately slow and very melodic. His touch is also very sol- id and the vibratos are wide and fast. in bar three, he throws in an F octave, making teference to the F chord change. In bar 6, he follows the pro- gression more closely by playing an E triad (E,G#.8) and an F triad (FAC), working back into A Pentafonic minor The last two bars ofthe solo (the last bar ‘of the solo section and the first bar of the third verse) feature great feedback, achieved with massive. distortion and close proximity to the amps. This verse features two rhythm guitars playing simi- lar arpeggiations, writen out in their en- tiely. On the final chorus, Slash adds some fils which are again based on A Pentatonic minor, making reference to C Pentatonic major (C.0.E,G,A) in bar 6 ‘over the C chord; notice that the two ‘scales aro made up of the same notes, but in different order. The song ends with a banjo-tke riff based on C major (CDEFGAB) ‘SHOUT AT THE DEVIL This classic song opens with double: slops played against an open A pedal, incorporating an A Pentatonic. minor ([Link].G) lick in bars 10 and 12. No tice that the two guitars play the lick slightly differently, with Gtr. I! sounding an artficial harmonic on the C note. This rhythm part is also used for the chorus. The thythm parts in this song are pri- marly made up of roobfith chords, with pparially arpeggiated chords used for the last bar of the verse sections. Keep in mind thal the guitars and bass are tuned down ane whole step, but the transcription is written as it the instru ents were tuned normally, for readabi- lty’s sake. Mick Mars’ guitar solo is, played over E, and he throws in one flashy lick that's executed by trling be- tween B and D on the B string, 12th and 15th frets, while quickly puling and re- leasing the string behind the fretted po- sition with the right hand, similar to the technique Jimmy Page uses on "Heart- breaker,” where he pulls on the sting behind the nut 1 WANT YOU BACK The song is in the key of Ab, common, in Gospel music, and throughout the en- tire song, Gtr | (right channel) strums an ‘Ab octave in shifting 16th-note syncope: tions. In this transcription, the first four bars ofthe into piano part (left channe!) have been arranged for guitar (Gtr. I); fon the second four bars, this lick 1s, played on guttar (Gtr. I, right channel), using single notes only. at which point another guitar adds funky but soulful doublestop licks and chords (illustrated 8 Gir. Il, let channel). At 0:21, Gir. Il introduces a bass-Ike rif that is essen- tially the theme of the subsequent chorus part, and the arrangement now Sets up the structure of moving between {wo and three rhythm guitar parts, which are weaved together. Study the different syncopations of each separate part carefully to see how each works unto itself and in conjunction with the others. (On the second verse, Gtr. I improvises fon the rhythmic ideas set up in the first verse, creating other rhythms and ac- cents. At the bridge (1:55). this guitar plays a beautiful part that encompasses the essence of r&b/soul rhythm guitar, utilizing Ab, Cm, Eb and Db voicings. Ali in all, studying this song will provide a ‘great lesson in rhythm guitar and the layering of guitar parts. The bass line is killing, too. And, it goes without saying that the vocals are incredible. All the parts are included in this transcription. FROM THE BEGINNING This beautiful piece features great performances from Greg Lake on ‘acoustic and electric guitars, bass and vocals. The song begins in tree time, with Greg playing melodies for the fist ten seconds based on E Aeolian ([Link] 'GAB.C.0), also known as E Natural ‘miner. Listen closely to the recording to hear where Greg speeds up and slows down to suit each phrase, At 0:24 this song enlers strict time, and Greg's thythm part is filed with unique chord voicings which ullize suspended tones, such as 9, addd, 13, sus4 and +9.1he final chord of the verse section, E7eusdb9, can also be thought of as Bm7b5(cusa)/E. At the chorus, the acoustic rhythm partis doubled, and at points the two guitars play slighty ditfer ft figures, all of which have been in- cluded here, Greg's guitar solo is based primarily on A Pentatonic minor ([Link].0,G) with brief use of the sixth (Fa) and the ninth (B), alluding to A Dor- an ([Link]#G). Keith Emerson's ‘great Moog solo is transcribed here for ‘Guitar, and for best result in recreating it, use an octave pedal that will double the lines one octave up (it will be next to Impossible to get that cool, percussive ‘Moog timbre, though you can try some compression, sight distortion and ambi fent delay, and put alot of low end in the sound}. Keith’s lines are based primarily cn A Dorian, so at times he alludes to A Melodic. minor (A,B,[Link]) by substituting Gf for G NAY 182, GUAR 5Tablature Explanation Page 33 | WANT YOU BACK ‘As Recorded by The Jackson 5 (om te album IANA ROSS PRESENTS THE JACKSON Siotown Records) Words and Music by The Corporation Moderate Soul = 100 te 1 Ab (&m)_Abmaltic_ D> Int (man til Ss Sone eens, sca tone Guz 1 iano art. for te.) ot, News (Gu tet capri, 0 coat Compare ‘nrairconm mares Foes eG Udy Pron 36 GUITAR, sANUAAY 1982(Fmt) Abmaivic “a BVG Em? (end Rhy. Fig 1D (end Rutt A) GU HL Choc ye by hd m7 w/Ry. Fig. Db phic’ Bh Py wi >» oe Jost Jet_me tel you now. Huth (ke voc) UN ok bah UR huh huh, Un huh uh. Uh huh uh JANUARY 192, GUTAR 357Ist Verse, Bom? Dyeh ett A (2 dies) = a News Sa 7 Fa a wo a Db A pti. 2 £2 2ige oti, f SS a Gid- stewart you a ~ round Those pretty fe aad ways make. you se uee on peeee p [oe (38 GUTAR, JANUARY 1982(Sa S55 + SSE ee pp pees _ steer ee (nt) Amati _ sige crete Veteteratene sei cea ape —— thes Seo os ut its much 100 tte forme. = ¢ ¢ — = st St u aS ¥ ? - * F JANUARY 1982, GUTAR 39* BHC En? B Bim? pues : e 7 A — oh fone more chance. (2nd rine) OF peed" Soe (end Rhy. Fig-2) Db Pod time) PHC Bh? B Fn? cm? Db a 2735 BS : chance. (Bkgd ox) sHOR. youthat Tove. you 40° GUT, JANUARY 1922nd te to Coda ° hm7_DWEE Ab Ce to Het you fo, but Tack In your het Oar -lin 1 Let. you a0, barby ym Fit ines) omy. re roar) ‘ Ht lem Sa Ba ons 7 fe te ie ie fe alee a) ie — Lett now since Pe seen you in his arms, on, "T want you back! fend Rit ©) i =: — = 5 = a 7 daa? Rhy Fld Ca JANUARY 1982, GUAR 44Sa » 4, FRAY ‘: : eS 45 1 want you back! 1 want you back! ss 2nd Vere WGRIFA 2 tines) & Ry. Fie 2 (wfimpoviaton) * fa, = eS yeah, yeah Nab, — nab, maby. mah Try - in? to We with-out your love is Pa Gi Rhy. Fi. A oe of RY Hie 3 (emt) Amu7/C (Dh A Bim? ‘one long sleep-less_ night Let me show. you, gt, — ‘that_Tnow wrong from right. up (end Rhy. Fig. 3) 42 GUTAR,aNUAay 1982WiRby. Fig 3 ny fi Pe ee Erser-y smeet youwak on, eae ar sins onthe round. (Big ve) Hoo Hoo doo, oo DS. God eon Aba aps ONE moa By 5 x za BAS = 3 =e —$- == eo Tt deat = eo want around Let me at 30H, now y/Rhy. Fig. 1 ly) rig be wR. 1 Ct ba nt Ne Ce eee py ss, es ie ie ie 2 ¢ £2 44 sow aoe Ne seen you im hin arms (Bp voc) Bota bum bum Uh, ‘be bum be" Sam bam, td svuaay fox GUTAR 43,‘w)Nocal part 2 (4 times) w/Rhy. FIN? & Vocal pat 3 (both 4 times) “gfe «ees giz = a i Be ta bum bum bom Un be bum bum bum, = Ub, be bum bum bum All Teed 0 inst one more Gur 1 Rhy. Fie & WIRD. FIL Gy Db es {st br only) I i > 0 al Ds Dic Bint B Fm Bot chance etme show you that 1 love you Ba Ba + by! 44° GUTAR JANUARY 182w/Ray. 2 Bom? w/Rhy Fi : Ps 1 want you back! For-aet_— what "happened then, ‘w/Rhy, Fig 4 (wjimprovisation) & RITE emer Tae aa 3 7 te be 2 pup ttthte ob Stig aise] abl ER. spe te et eS Seg a ee 7 SLLle eI we Mm ot ba ie SS SS er = 6-6. oe = wr nesaneewin Hehe 2 FT . 2 pellet val you in his ams” chu po T want you back! Spare me of—— this cost For~ Rit G, EG Fn? Db DyC Bim? B b. Jif Ohba by, TLoweaT one move chance, ha, I tell you that T love you eet a -boutwhat I lost veRhy. Fig 1 (at barony) w/Rby Fi En? Dy Bim? bye a é no se ae YY Fill, Eb Pade out cea 7 ES % ——= SSS el om ww ANUARY 1982 GUTAR 4SBASS LINE FOR | WANT YOU BACK ‘As Recorded by The Jackson 5 (From he aloum DIANA ROSS PRESENTS THE JACKSON S!Motoun Records) Words and Music by The Corporation Moderate Sout d= 100 Em) AvmjvicDs_As Intro, Piano) = — ja Siepiere it Pasa SS = : ~ L _ + zal sa fa + —___— Db (DC Bh Fa? Cn? bb Bom? DYBD AS es = a ss oa — ote (Em) ArmasICOs Ab Bh BAD 1st, 2nd Verses ‘tb Ncw [Link] 1 had you to my-slfinfet.) 2. Try ingto lve with cut your ove (ele) Bim? DDBb Ab (m7) AsmalTICDS Ab Newb Cipro, gt see ta conga, ronson Croroeed gna ete) Maetn OSA sey Pome 46 GUITAR JANUARY 1982chorus Se “a Play Fill 2nd time pace ee Se SSeS eas —_— = 7 =, ee ae pe SSS _— Se == | : - : Vina Cm7 Db Ab ‘Bbm7 Db/Eb Ab SSS UNUARY 1982, GUTAR 47Bin? Bh? DSJES Ab Dy | phic Bb? Bb BIG bE Fn? Fade out 48 GUITAR JANUARY 1952PLEASE CUT AND NAIL PAGE GIVE US YOUR FEEDBACK! Moving into our ninth year of publication, GUITAR For The Practicing Musician has become far and away the leading guitar maga- zine on the market today. Not only are we the best selling worldwide, we're easily the most forward-thinking, forcing our competitors to continually follow our lead. This, we firmly believe, is because we always listen to our readers, gauging their desires and interests as we try to make each issue of GUITAR the best it can possibly be. By filing out the enclosed questionnaire, you can take an even greater part in helping us to determine our direction for the next nine years, as we strive to meet the needs of the ever-evolving guitar commu- nity. Just take a few minutes to give us your opinions (circle your answers), and mail this page back to us. Thanks for your input. NAME. ADDRESS. omy. A PHONE NUNBER STATE +1. How long have youbeon playing guitar? fa Less hana year Eight to ten yoars [Link] years, More than ten years Fourto seven years. 2. What level player are you? ‘8. Beginner Advanced ». Intermediate 4. Professional 3. What instrument do you primarily play? a Electric Gutar <4, Equally divided betwoon one b Electric Bass cor more ofthe aboue «Acoustic gular 2. Other 4. How long have you been reading GUITAR magazine? a Lessthana year d. More than seven years [Link] three years 0. Have read every issue . Fourto seven years 5. How often do you buy the magazine? 1. Subscriber 4.36 times a year ». Every month ©.1-3times a year ©.6-9timesa year {This is my firs issue 6. What most determines whether you will buy a particular lssue? ‘Cover photo Cover subject, 1. Variety of althe songs: [Link] and aricles combined ‘One specie song _‘h. Comparing lssue against com- 4. One specific article petitive magazines that month ©. At least wo diferent songs 7. How do you feel about the amount of editorial content in GUITAR? Noten Tone i oo oO 8, How does GUITAR’s editorial content comparo with other guitar magazines? a eo 9. How often do you read the following monthly articles, ‘and how do you rate them? ‘Anti-Social Guitar (Rooves Gabvels) ‘always Read Sometimes Read Nover Read Excelent Good Far Poor Bass Secrets (Randy Coven) Aways Read Sometimes Read Nover Read Excelent Good Fa Poor call Board ‘AwayeFead Sometimes cad Nover Rad Breton Good Far Poor Classics llustrated (Robert Philips) Alvays Read Sometimes Read Nover Read Excell Good Far Poor Guitar in the ‘905 ad Somwimos ead Never Read Geos Far Poor Inthe Listening Room ‘Aways Read Sometimes Read Nover Read Coote Good Fae Poor Metal Edge (Alex Skoinick) Aways Fead Sometimes ead Nover Road Excelent Good Fa Poor Rie 182 GUITAROpen Ears (Steve Morse) {way Road. -Sometines eae Never Ras i Seaton Good Far "Poor 1 Outside comer { rwaysRend. Sometines eas Never Rea } Grcotem Good Far Poor {Resume Aivays Road Sometimes Read) Never Read Excalo Good Far Poor Rook Climbing Aweya ead" Sometimes Read Nove ead Excalent Good Far Poor Sound FX Roa Read Sometimes Read Never Reed Senter Goo Fae Poor Vinyt Score ‘Aways Road Somatines Read Never Read Grcoent Good ro "oor 10. Does GUITAR deliver what It promises on the cover? etal ©. Sometimes Usually 4. Never 11, Rate the quality of the transcriptions in GUITAR compared to our competitors. a. Much better € Cant tell any ciference b. Somewhat better. Notas good 12, Does the qualty ofthe transcriptions make a difference in determining whether you buy GUITAR of a ‘competing magazine? [Link] ©. Sometimes i. Not Usually Yes 18. Does the amount ofthe transcriptions make a ditter- ‘ence In determining whether you buy GUITAR or a com Peting magazine? [Link] Sometimes Not Usually Yes: 114. The amount of transcriptions presented in GUITAR each month i: 1. Not enough Fine ase Too many [Link] 18. Do you ever return to back issues to learn a song you intially skipped over? a. Vey Otten ‘. Somatimos ». Usually 4, Never 50 GUITAR JANUARY 1082 MAIL TO: oi eG Tatar coat P.O. Box 1490 [eA UEC AAR SLE 416, What style of musie would you lke to see tran- scribed more often in GUITAR? [Link] Rock ——_f. Heavy Metal ». Blues, 9. Pop ©. Classic Rock Thrash 4. Classical |Top 40 Metal . Fusion, Other 117, How Important do you consider bass lines with tran- scriptions? Notimeotan Vary inonart fees 18. How much would you like to see drum parts and keyboard parts added to the transcriptions In GUITAR? Nexarat Veni 1 es 19, How much would you like to see a Special Issue of GUITAR designed for the beginning musician? Neva Vy at 4 oe 20: you've ever subscribed to GUITAR what caused You to stop? (crt ata ae) £8. Cost of continuing subscription '. Unsatisfied wih qualty of edtorial coverage Unsatistod by amount of editorial coverage 4. Unsatistiod by variety of songs prosentod «2. Duplication of songs with competitive magazines 1, Stopped playing guitar 9. Chose to subscribe to competitive magazine instead 2. Customer service was inadequate other 21. What other suggestions/subjects would you like to ‘ee Inoluded In future Issues of GUITAR? CryCE > AL Acuna Send Your Amp Questions To: ‘Amp Questions P.O. Box 1490, Port Chester, NY 10573 Question: | have a three-year-old Pea- vey 150 watt amp with a 12" speaker. ‘The amp produces feedback whenever the volume or reverb contol is tumed up to about 4. Is there a simple way to fix the problem?—Tom SmithyNew York, NY ‘Answer: Excessive feedback in amps with reverb can be indicative of several problems, In a tube amp, the reverb diver or reverb recovery tube (12AX7 or 12AT7) may become microphonic, and may need to be replaced. In solid state (transistor) amps, any number of faulty ‘components could be causing the con- ition, Also, make sure that the revert tank itself is very securely fastened to either the amp chassis or, in the case of ‘combo amps, to the bottom of the amp Cabinet. Amps that have sell-contained speakers are particularly sensitive to feedback from reverb circuitry, since the amp's speaker can magnetically in- teract with the reverb springs unless everything is secured very tightly. Question: | own a Fender Champ am- plier, | can buy a speaker cabinet that ‘contains 2 12" speakers. However, the cabinet does not have a preamp. Is, there any way I can hook the Champ up to the cabinet and use it as a “slave” ‘amp?—Mark Bowers/St, Lou's, MO ‘Answer: In order to accurately answer your question, some terminology needs to be defined. Any guitar amplifier can be seen as having several cifferent ci- cult networks working together. These include the preamp, the tone control ci culty, effects circuity (it any), the out- put driver stage, the power amp stage, and finaly the speaker. The preamp stage serves two basic functions: it couples the input (your gui {ar) to the amp, and it ampifies the rela tively weak signal from your guitar pick up to a level required by the power amp section. The tone control circuitry helps shape the frequency response of the preamp by altering teble, bass and midrange, Effects such as revero and vibrato are then employed after the sig nal has been amplified by several preamp stages. In a vacuum tube amp, preamp stage is one-half of a 12AX7 (6 similar) tube. An amplifier having a reamp-out feature is one in which the User has the option of using just the preampitier section of the unit and a emote power amp, or to interface with 2 recording console. The output driver stage further amplifies the signal to the right level for processing by the power ‘amp section, Its the power amp that is responsible for delivering the output to the speaker. ‘The term “slave” amp refers to using ‘one ampitier’s output and feeding ito a remote power amp. The “slave” output captures the full output circuitry of the amp at the speaker jack. The signal is added, however, to permit interface at line fevel Therefore, your Champ can theoreti- cally be used with a 2x12" cabinet, but the power section of this small amp would not deliver substantial power to drive the speakers to their full potential The result is a loss In power trom your amp. Remember, an amp can dalver its {ul rated output only to a speaker (load) that matches the output section's imped- ‘ance. | recommend that it you are looking for more sound dispersion, invest in an ‘amp inthe 60 to 100 watt range. ‘Question: | am looking for schematics and wiring diagrams for Fender amps such as the Pro Reverb model AAT65, Dual Showman, and Bassman 100. Where can | get these?—Forrest Good! Ava, Answer: The best comprehensive source of tube amp schematics and technical information is The Tube Amp Book I, by Groove Tubes, edited by Aspen Pitman. In addition to accurate ‘schematics and technical data, there is some interesting historical information ‘on Fender, Marshall, and other vintage and modem tube amps. Send Your Questions To: Guitor Questions P.O. Box 1490, Port Chester, NY 10573, bby Barry Lipman ‘Question: Is there any way I-can pre- vent my trets from wearing down?— Scott Queen/Alvin, TX ‘Answer: There is not much that you can do to prevent or postpone wearing down your frets. If you don’t mind play Jing on flatwound strings, use them in- stead of roundwounds. They are gentler ‘on your frets than the roundwounds, but the unwrapped strings will stil present as much of a problem as they did with the roundwounds. A combination of the type of string, how hard you hold the strings with your fret-hand, how hard you pick, and how much and how corro- sively you sweat all contribute to how fast you will wear out your frets. Most players get years in between grind and polish jobs, and something like five Years of more out of a set of new frets. Question: What can | do to get my gui> far in tune so | can get both barre chords and first-position chords to be in tune at the same time?—John Orche- soniOntario, Canada ‘Answer: Tuning may not be your prob: lem, It sounds ike your intonation needs adjusting. If the intonation is out, you ‘won't be able fo be in tune all over the eck. Checking and adjusting the into- ration is very easy to do on most elec- tric guitars. Compare the note at the wel fret with the harmonic at the twelth fret. If the note is sharp com- pared to the harmonic, adjust the bridge saddle to make the string a litle longer. Ifthe note is fat, | make the string a litle shorter. Cheék again and adjust until the ote and the harmonic at the twelfth fret are the same. Be sure al your note! harmonic comparisons are made while holding the guitar in playing postion with all the strings tuned to pitch, other wise the nock’s flex wil affect the results. ‘Adjusting the intonation on an acous- tic guitar is a bit more difficult. Usually the bridge saddle siot must be filed with wood of the same type and grain. Then ‘a naw slot can be cut in the correct place for the string gauge and action that will be used. The top of the saddle ccan be carefully shaped to favor either the front or the rear edge to fine-tune Individual strings. This is best done by an experienced professional. if you try it yourself, you may have to relocate the Slot a few times fo get tt right—quite a tedious prospect. ‘Occasionally | find a guitar that has a bad fret scale or an improperly located rut. These conditions are very rare, but they can be tricky to diagnose. I recent ly saw a guitar with the nut slots flled wrong, $0 the strings were not leaving fom the front edge, simulating the effect of bad nut placement. If the guitar's intonation is adjusted perfectly with new strings and it stil won't play in tune, check the frets, the rut slots, and the nut location against a standard of some kind, You could use a Quitar of the same scale that works properly to check against yours. Question: My guitar seems to have maximum relief atthe tenth to twelfth fret area. How can | get the action down toa reasonably low level without annoying fret ‘buzz?—Robert McMahon Nagara, Wi Answer: First, let me define teliet os ‘being the small amount of forward cur- vature, or bow, that a fretboard must have to play properly without excessive buzzing. If the amount of excess relit is small, ou may be able to get away with fa grind and polish. The frets may be high enough to fle down to the proper ‘amount of relief and stil be high enough to play on. If the frets are not high enough to got away with a grind and polish, the frets will need to be removed and the excess reliel will have to be taken out of the fretboard before instal ing new frets. Other than that, the only way 10 avoid fret buzz would be to sat the action high enough that the extra relief is no longer a factor. ANAT 182, CUTER‘SWEEPING THE NATION ‘AND BEYOND’ The Sloca And The Matar. The Most Comprenensive Sty Dedted To The Mastery Of Swoep Ping + conte aerdopte of seeing ce tare ype eigen Ate" an seep pg oe, Spal Seon scat sing ot Bak, eel od Bos dr pens Tig) queen pale fr nla Stes of tr Bana aired Pp you cep Bete at Seno tar This New Gof Send $29.95 es e159 sta ig Ue The look, sound & feel of vintage Regals at an affordable price. Rega dobros were introduc Inthe 19308 Thelr distinctive ‘one quality has soe become ‘one ofthe characteristic sounds of biues, bluegast ‘and county muse These versal gultars are often hear adclng spice toa Shes of contemporary musi, inching many fim apd television eo ‘wack. Sagas Regal dobros ae bull © ‘tinal and tredtonal 1930's ‘specticat Regal RD-65 $595 soot ‘Saga Musical Instruments VIDEO SCHOOL | OF GUITAR “hb in video dan! Free Catalog 800-626-7162 70) Sox 9 Pm wat Wat, WA 998820003] i: 2 Ne Ucsumeeteaoy secormescsw oe smarcomerigeupanenteegunome vgn iiccnae Reach over 600,000 guitarists with an ad in the new Classified section of GUITAR For ————— ‘The Practicing Musician, the best-selling guitar magazine in America. Cost: $2.50 per word 50 additional per bold word (underline words to appear in bold type) $7.00 per address and phone number Display: We will also accept display ads: Ya page (214° 21") = $395 6x'rate = $345 per ad 12x rate = $305 per ad 1 column width ad (2¥4" wide 1" high) = $210 4X rote = $185 per od 12x rate = $165 per ad Nome Address ——______. 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Type or print clearly, with oll bold words underined. eT ol PTS 62 GUITAR JANUARY 182CL DRAINED??? Maximum COMFORT Perfect Balance! SPINStrapsl Like 22 Top. Detale 717-227-1827. SPINS. Strap. Systems, 31 Woodane Avenve, Wilamsport PA 17701 Baer LOWEST PRICES ON BAAND NAME IN. INSTRUCTION ESSENTIAL ARPEGGIOS, by Steve Crowell Important ingerings every guitarist needs to know! $3.95, FREE brochure. SOM Produc ‘ion, Dept. PM, P.O. Box 2556, Carson City, Nv 89702. FREE CATALOG OF BOOKS, VIDEOS, & TAPES coveing paying techiques, ope recording, MIDI, compostien, music bust fees and more. 850 les rviewod and guar {Snieed! Mix Bookhelt, G40 Falls St. #12, Emenyile, CA 94608, x cal operate fr tl froe rumbor SCALES IN CHORDS For Jazz Gul by Steve Crowell $7.50, FREE brochure. SOM Productions, Dept, PM, P.O. Box 2555, Car son Cy, NV 89702 SECRETS OF MARS by Tio Broz contains ‘TONS of tablature licks and solos inthe syle OF Crue gultarst MICK MARSI Pus: the se ret ot BLINDING SPEED! Monoy back {Uaranteo. Send $1295 plus S200 SIH of {fie for Fee infomation TODAY! BWW Pubs Satlons, Dept GP, PO. Bax 41165, Memphis, N'38378 INSTANT LEAD GUITAR lessons jot begin ere and advances, $10 = $1 58H 1510 0 Bioeke £1 Dorado, AA 71730. BORED WITH THEORY, SCALES AND MODES? Seven of JS. Bach's two-pat in Ventons. in tablature with demo cassette, Never lore arranged) ard renecrives lt Solo. guar! Not afcut fo loam and vary Bitchin’ when rought-up to” speedh Send '$20.00 to MusiScibe, P.O. Box 62%, Alexan ‘iia Bay, NY. 19607-0621 25 WAYS TO IMPROVE YOUR GUITAR PLAYING. Free. details. HORAN PUBLICA. TONS" GM O: Box 442, Minorovi, PA iy LEAD GUITAR now. IMPROVISE, Inno, ‘alle pattern method qves you command of lente irelboard fat! NO. MUSIC THEORY REQUIRED. Includes guitar technique guide Book: $14.95, or fortes Inve” SARATOGA PUBLISHING, Dept PI. P.O. Box 901, Ballo vie, Mi 46112-0601 {JAZZ GUITAR SOLOING, by Sieve Crowell Book ang pracice tape, $15.95, FREE bro hare. 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Box 2586, Carson City, NV 89708 EARN MONEY TEACHING GUITAR, Free Sdotals, HORAN PUBLIGATIONS - GPM, P.O Box 442, Minersvile, PA 17954 SCHOOLS BE A RECORDING ENGINEER. Train at Tome for High Paving, Easing Colca FREE inforration. AUDIO INSTITUTE, 2256- fk Union St, Sule’ AX, San Francisco, CA eta. LOS ANGELES RECORDING WORKSHOP Seeckriensve hangeen ange, Hous jen INSTRUMENTS FREE - MANNY'S FIRST EVER MUSIC OAT LOG, Manny's brings 48th St fo your door Step. Become. a charter subscrioer. Send Fame and agarees fo. AudioTechaiques, clo Manny's Mall Order 1600 roacway, Suite PARTS/ACCESSORIES ATTENTION GUITARISTS, BASSISTS. Grane, Marin kis Fender ashy par Goya. Stager Gutars. Catalog $1.00 Retun. ‘bie ‘Sting King, G2, 80x 9883, Akron, OH 44306, ‘SAVE TIME AND MONEY - Call South Tex as lasiost growing music siore. We offer Seep siscaunts on hame brand musical mer Chandise. Call or wrie for price quotes, ‘monthly sao flere, anc fee catalogue. LOS! 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Just released, this new 700-page ‘edition le the most completo reterence on he Best noun tube amp companies ranging 60 {eats ana includes technical ancies, service tips moatieatons, dating ino, dozens of ul color pages. ang over 400 schematics, Seng 528,00 + "$2.00. postage to: GROOVE ‘TUBES, Box 923359, Sylmar, CA 91342. Removable TATTOOS" 1 those wo dare to be diferent Roce and tracttonal designs Sampletcataiog $8.00. VICTOR MUSIC. BIO, Deot. GP¥ 12, 2146 Sautn Wayne Ro Westland, MI 48198, LOCATE “GUITAR FOR THE PRACTICING MUSICIAN’ TRANSCRIPTIONS INSTANT. LI! Aiphabetizes ist includes: ati, song & isauo (August 1989 caren). Sond $808 {ee Productions, 1738 East 45th St, P.O. Box 854, Brooklyn, NY 11234, Fam THOUSANDS, Sond SASE -W Wie hyn, Dept eM Box 29 Group 11. RAT ‘imnpeg, Mantoba, CANADA #0 54 PROMOTION and DISTRIBUTION for inde. pendent labels Major Deals (618) 752-1408 1 \ Bi tee ce 1 ees 1 1 hae —!1 1 oe coabueemnean ee | Se 1 Rock Candy P.O..8ox720, Medford, NY11763 I Nia 182,GUTAR SB‘Tablature Explanation Page 33, FROM THE BEGINNING ‘As Recorded by Emerson, Lake & Palmer {From te album TRILOGY/Atante Records) Free time (slowly) Words and Music by Greg Lake Dpt Gadd Am? Dag fe Hg Ei Fe uo Em tm erring throughout Ld acm ns Hg al 4s = 2 se = —" tap Moderate d= 132 Dmo Intime Am? een asain ant Deaasia (end Ry. Fig 1) Cid or02 yee ed yo Peas. ernond Cyegn tonnes sree 54 GUITAR .ANUARY 1921s, 2nd Verses am Daaaaya op ae “ © i [Link] might have bean things 1 missed, —— but don't be un 2 May 'be Tight have: changed, and “not. teen 20 (end Rhy. Fig. 2) RR Fi leering kind, Me don't mean Tm blind cniel Not “been such 2 Tool Fr -hape theres = thing or two — Winterset, was done is Gore — pop Go. FE 3) Ry Fig 3Aeo-- =~ L Z At £ at 43 _— = - wm. 3 ¥ on rs a niin . |S = SS SS SS SS ee Tak of oe te eh outa tow a feo et om EE ame Dm7 ® Am7 JANUARY 1982 GUAR SSDeda Amt eaa/a You see, its all Dat uaa Dm? w/Ry. Fi 1 (end Ry. Fie 5) y ap Donte nate DS. al Code Dasa/a Ant badas/a Cage w/Rhy Fi. @ Am Dada4jA Am? {56 GUITAR JANUARY 1982 .asda Doi aaa te Dm? ee Etatho Gtr 1Gte ont) ‘ui Rhy, Fig. 1 (ist 3 bass only) RTA, ‘An? DadasiA Ant Nebacaaiay ‘rom the bein -nine. som tau Geta wiRhy. Fie? wR. Fi 3 eo 5 was a Se y on yh hey E> (clean tone w/rever, ie. \NUARY 1952 GUITAR 57(ate v0) W/Rhy Fig. 3 (Ist Stars only) Fada « w/Rhy. Fe 3A c GiB Py Po Bae Soa eee ree A = (etgh 0) W/Rby. Fig. Dada oe Am? Pat (atigh i.) mean ee ee IR. Fig. § cues Ant Deaaa/a Dm? Tal pat = (tight i.) aw wIRhy. Fig. 1 Dm Ereuti9 ‘a? "Siviy bd aoe repaid, Tach op wi oh 5B GUITAR JANUARY 1980Synth slo ikhyHe 2.5 tine a ee ee en es = (8va) Gee. fo mi ‘oteron esr Gorm ty, 407 Hep a oe Fie tl 6 i jeSteee SS Ant usta Amt Dasa (Synth tects) Ant Deaasia ‘amt Data/a = Dadasya “inuaay 19% GUTAR 5Amt Dadasia am? Dacss/a Amt Dadssia Minmccscerttstitrene se eee Am? Dean Ant Daasa/a w/Ry. BL Am? Dadasia Ano) vim Ss : Rhy. FLL am? 60 GUITAR, sawuany roaBASS LINE FOR FROM THE BEGINNING As Recorded by Emerson, Lake & Palmer (From the album TFILOGY/AUanée Record) Words and Musi by Greg Lake Free tine Moderste d= 132 Intime Dada 2 Ang Dalat © cre Faas 6 aN oo z bri Tilia + S SSE TS _— Hesmight have been things. Ive mised, (ete) a oe = oe Faddé G bmn sh Am? Daddy tte ” Kee A ete, a == Se = t = a Ant puis Dat gaat De? gg Prats = — ec Ccontated orantores Mingne rears JANUARY 198 GUTAR 64Ams Daan © Co 6 Dm? Amt Dadaaya c ow An? Deaasla Amt Daaaaya = # ete * 7 oe = @ . eS Dmt cata Dm Erato dog NecDasagjay I teat 62 GUAR, Nunn 192itr slo 7 no aaa c Fase Dat Ant aden © os Pages « Dmt —~ Amt Dacaaia ant Dasa Dm, Gatao Det Etats tre Ant Daan é vanunay 192, GUAR 6BSynth, solo am? Dasaa/a — SSS Amt Dean Ant pDsiisiA An Datta Ant Data os se l Amt Daseaia Ant Deeasia Deaaala 64 GUTAR, JANUARY 192Tablature Explanation Page 33 THROUGH THE NEVER ‘As Recorded by Metallica (From he album METALLICA Records) Words and Music by James Hetil, Lars Ulich and Kirk Hammett a a oer fe TBR" ER" Be os Ne cut@u Misr _ 2 a3 - ; — 4 = Gur, i PREM Ty Hat ine foe 5 teats as NCES as Bis All that was and will be 2 See addiviona res, Gin. 181 capper by Onna Dams AP rain Capit eared al apes anette en ra eC JANUARY 182 GUAR 103es), as Bis NC. ‘Time and space nd ine Disturbing thoughts, ques. = thons pend ig as Bis ES NCAES) tion of man un - der i od al time foeD 45) toa Guar, .aNuary 192? ot Half dime feet Chon wi BH ES FAS (Twist ing, turn sing through the ev ~ er) All (end Rhy. Fig.2) Rhy. a To Code (eo at tin xd Las Fs isis ns ets ns ris ES FIs GES PMS STHS 3 rer was wil be ev-er——wieting, turning through the neve. {end Rhy Fig. 3) HNUAAY 1992 GUTAR 105NG os NC. Ry Fi ex Rita Ry. Fa 3 mito. 2 Os acy Guitar solo Cee Ke cos cramirimniy Sins ens ne wns EMER CTT? 2 == a steady gh, 406 GUITAR sARY 19922 Hat ime foe swjRyr ig 3 (Ge. ID a FES BS ES = es Hts s ase (6 isd ea pode t ES FS ES FAS UES Ful a Fa at JANUARY 1982, GUAR 107/Rhy. Fig. 4 (Gts 18 1) Bs Gs ONG Pay Times Beige ‘WiRhy Fe (8 times) s ‘Gs NC, On through — the pers We must go___ on rough — the Peg oe ee edge — for 7 we We must on ough — the ner = ee Ten ney - er 408 GUITAR swARY 1090Gr. £5 a er (en haf time fet) prope ‘Twist - ing, turn ~ ing through the nev = er, Es FAS Bs FAs Es res ESS BS FAS ES FS ere ov ser was wil be ever wis ES Fas ES ris ES FAS OES FAS ES FAS FS FES ing, tun ing. FS HS Who we are ous 18 ‘Twist-ing, turning through che Additonal Lynes 2 In the dark, see past our eyes. Pursuit of tat, no matte where es. {Gazing up tothe breze of the heaves. ‘Ona quest, meaning, eason (Come to be, how it begun All alone in the fama ofthe sun, Carsitytesing everyone ‘On our home, third stone from the sun. Yeah \ANUARY 182, GUTAR 108BASS LINE FOR THROUGH THE NEVER ‘As Recorded by Metallica (Prom te ben METALLICA eke cords) ‘Words and Music by James Hetil, Lars Ulich and Kirk Hammett Fast Rock J= 188 Iewro 7 Es NG. os Ne, ES os es AS BAS ASGS FSEES DSF Th an that is, and wil bem (ered 2.In_the dak, past Our_eyenteie) es) as Bis NC es) erator Corn on se car, onsen cong Seed” hiagueraeed ans Pmacan Chery Lr, 110 GUITAR, sawaRY 1882ES _NG @s) Doxblotime fel 2nd time to Coda fis Es_His Es FAs Es rises Fis All that (ete) DS. eiCodg JANUARY 1982, QUTAR 944cota Halésime feet Gomer ESTES rs rs es Fis Es Fis es Fes ES FHS BS FAS Gauitarsolo ESAS ESFES NG ESFS FIS GS Gi NC cs NG, E e Hat die feet ESHS ES FAS ES IS ESFHS ES FAS Bs GSNC. Es GSN BS GsNG a @ fy 112 GUITAR JANUARY 1982ts os __xc 4 5 sree Bos ne es osNeg 2 2 7 ss a ‘ Debit et Re tsi tt ate en ess es_ns w <¢ es ts sets sss 5 FF re Hilti tt & Gs NG. % i ES GSNCB ES GSNC.2 2 Es _ FIs Bs Fis ES FS ps Fis os Gs JANUARY 1982, GUTAR 14.SHOUT AT THE DEVIL ‘As Recorded by Motley Crue (From te abun DECADE OF DECADENCE/Eokra Recor) Tablature Explanation Page 99 Words rd ai by NS os css eee Bg eh ere ae Bi2 B28 seen Sow Ra J=96 Gis 8 ‘Tsien wen ie 7 ‘woe tne coma NG CSNC DS NC. SNC Shout! Shout! Shgut!Do youshout at the dev- i? ima), Shout! sk Ne 6s’ NG DS NC cs NC 6 NG DS NC OG NGC (end RATA) oun Pe. Rhy. Fie 1 (end Rhy. Fig 1) =| AML pits Baptiste Gite 114 GUITAR, saNLABY 1982 eo 2185, 1901 Tatre Rang Gap Mey va alta sararey var anes aston Penn ct mh aap Sealy rT ar nen een aN oranda Sess hiigratesod Useseyfemceie 3 Fu st In Poy: ft set He's the wolf scream in lonely in the night. He's the blood stain on the ee <> 2 ott fe Ee te 5 2 & ie siept pe tft see hist pitets ‘2d time to Coda co eC op - 8 bs as cs zt fea-vons of with er, you stand and deliv er, be trons and ove my woman! ons. tat Chorus wy. Pie Rhy. FL Ne” C3NC DS NG GS NG NG DS NC CNC Shout! Shout! Shout! Shout at the dev ~ a! Shout! Shout! Shout! HE be the 2nd Vee ‘wiRy Fig, 2(3 times) Ds cs as cos 3 tebe 2 love in your eyes, he'll be the Mood bet-ween your thighs, and then he'll have you ery for more.—___ He put your as bs cs as cs Ds = on t cs fie strength to the test, bell put the thell tack in bed.- sure youvehetrdit all be = fore. Hell be the Rhy. FULL SANUARY 1982, GUTAR, 145cs as cs ps cs id z bs te risk in the kis, might be an = ger on yourlipe, might mun scared for the door! But in the ‘chorus ‘wi Rhy. Fill | AS cs cB ‘wiRhy. Fig 1 bs cs eee Nc os £ 2 sea-tont of with -er, we'll stand and de -Iiv-er, bo strong andiaugh and, stout! Shout! w/Rhy. Fa cs Ne cs NC. cs NC ps Ne” cs pe ‘Sout! Shout at the dev =i Shout! Shout! ‘Shout! Shout at the dev il Guitar solo al a Py Pat Pt uh ne Rhy. Fil Rhy. Fill 3 16 GUITAR JANUARY 1992(ates. if CSC - = SS . 7 ese Prine ome Bae Ds etont ” xe yp 5 ofsas vs TH wae CF JANUARY 182, GUITAR 147hone age wy. 2cndbconn) 5 SB aera one 2 ne a sf) 8 : ts = = z F ce —— song, and awh and shout Stout Shout! Shout at the dev =i ite {Ge & es ace NC. Re » cs oNC Ds NC Shout! Shout! Shout! Shout at the dev il Shout! Shout! Shout! Shout at the dev~ it Shout! Shout at the dev Coons Sify. Fe 1 Cat ba onty-ay 2s) Nev UNGING™ DENG TGNC ge GNC DSN GNC tea + * ty =o Se = Shout! Shout! Shout! Shotat the dev i! Stout! Shout!_—_—Shut! Shout at the der- i ous Begin fade 3rd time ‘w/RitA (starting 3 time, tl fade) Ne BS cs NC cts Ds Ne. BS cs NC Play 6 times and fade a 7m 7 416 GUITAR, JANUARY 1982BASS LINE FOR SHOUT AT THE DEVIL ‘eTwve down 1 step: (As Recorded by Motley Crue (From he shun DECADE OF DECADENCE Reco) 822 Bee Words and Music by Miki Sixx Moderately Slow Rock 4= 96 NC(AS)eS Ne. 0s Ne cs Intro a zs > = ee rey ‘wrest normaly Ne. Ds NCCSNCDING CNC CONC CONC _DSNC SNC pu Sd ed ou eat aw oS es == SS 13., He's wolfscteam-iroam-ing inthe night He's Mood stain on the stageete) 2S AIT OE ad) *Phy Fill 13rd time DE CS AS fandcimes rere, by ream ekg Co ity Cw Mae ‘ge saritesty vara ante sey Con Pema tao are care, sl Py is cng Yn eo i anata semusmniboOk rata Co aah Pavan Norah anettane ven cA eM Frenaond Gaya Srored Aisne teamed Usb Peresen “PNUARY 182,GUTAR 149home (2nd, Sr ues) Shout! Shout! Shout! Shout at thedev =i ete) 2 pe ° aay oeee Gitar soto DS alos Gogg reskdown 3 cisAx DSH BEING cS NC Loa « He chores Ne" cs NC SNS NC NG DENG GNC 3 == — _ 2 : : ofa a i = Ne BSCS NC ci5_D5 NC. Bs CS NC cAs_pswc, wae ae aa a ——=| = E ¥ cs © BLENC NC aS GNC cts Ds Ne. Bs C5 NC M7 J Himes ond fade 420 GUITAR sana 1882Tablature Explanation page 33 DON’T CRY [Link], sooner Eee aR ea ee ee Rock Ballad d= 62 Ino Am Dm 6 cus? GB ONG Am Dm ¥ oot oe E ee curren 3 aan ge et ae ad Z ec onan “ + ae 2 o — 2 SSE + — — —- 2 — © Gu tt Eee whol contol FOBE pT E 1st Verse NG as Ame Dm 6 cada2 G/B NC. ‘Talk to me soft-ly.— There's somesthingin your eyes.— Gtr. Wout) ad orl dntad one ot ihe (al Gui 6) HOUnaY 12 GUTAR 42 compete wy re os ie enaena Coors Sows ingen Peores Cd PorDm 6 © 6 NC. Am? Dm Don't hangyourhead. in sor row, and pleatedon't cry. 1 know how you feel. in side¥e, a © GB NG Am Da 6 © NC ‘ve been there before. chang-in in-side you, sand don’t youknow.. 122 GUITAR JANUARY 1982Teemu ANB 182,GUTAR 123,Don't you ‘Osh. "nd Ver wri? ts Dm Geld Fa 7a [And don't you sashes) Ge me a whis-per, team tone w/echo 124 GUITAR, .wNUaRt 192(cont. in d rotation) Gull Fosse so aa and give mea seh Gee 1810 contin a os Sti ¢ ow NC. Am SS" _pmme2 Dm IT 633 - Gut See oeiae Don't you take. it #9 hard now, as scat cm A Spm Dean? Dm a4 as merece) STI and plese don't take it 0 bad PU stil be Gtr L&I (Contin Chore os mottion F 95, aaa a3 © a as ee FIRST AT , Gus 14 JANUARY 1982 QUTAR 125:to > night. — Am Amaves_Am os FE cee (Gus, Lout) Don't you ‘oh to-night — (Gee. Mout) Gu. oS op As Gs FS os as tonic. ee ¥ — There's = heaven above. you,bs- by Anddon't you er. Gen). a f "ive (oa a Toro areola FS Gs AS_os FS os pt d d a 34 d d 426 GUAR JANUARY 180“Ty alone ai of ord wins FE IRE NTA Ps Theoret aes Vere wir ree 6 _ a Andplese ve ~ mem out ‘aver eect ba) ane 82 GUTAR 127Dm © GB NC Am Dm 6 On, and. please. re - member how I felt in ~ sie, now, honey. You got-ta. makest your ownsay, ons ms oun ap ke om 6 wi oT 34 but youl be al ~ vight,now, sug - ar Youll fee. better come the mora~ing_ight,now,ba by. Gre. Mow 420 GUTIR JANUARY 1282Chorus F os as Fs os 3 d 4 SDI TI 1 fee so ° a ge tee : A f= 7 SS ight — Anddos't you ev to-night. ‘An don’t you (Oot. Ooh. ANA 182, GUTAR 129And don'tyou ery. Ooh, Spoons | of i i Ba - by, maybe someday And dont you ay. vine ‘Ooh.. 430. GUITAR JANUARY 192Ne. a _ t a ae £2 Beit Ss |_ ee 7 = = —— LANA 192, GUTAR 131BASS LINE FOR DON’T CRY ‘As Recorded by Guns N’ Roses (From tne abu USE YOUR ILLUSION VGetlen Records) “Tue cows 1/20 avr Words and Musi by Izy Stradlin and W. Ad Fase S38 8:3 Rock Balad d= 62 wo AM Dm «Gu NG. Am Dm BEE == = : * wpiks ft 7 : ae — en - a 1st Vere & Dm 6 caw om Ne : yf Poy oe c op xc ‘Tak to me soft - Wy. There's something in your eyes (ete) t cyt Don't you ev. to-night. fer) 2nd time 19 Coda os se : —s * radiances. cud tors oy cia Re tin ASO 432 GUITAR JANUARY 1602. tester Cane Senses Pansat Pen cyanea gaye‘nd Vere an am Gs © GIB NC Am bm Dm Sa. = Give me a whisper, (ere) 6s CGBNG Am) Dm GS_—CGIBNG Am Dm os © GB Am G ; * 3 = Guitar oto opens Bs Fs os as os z — Si naa 192, GUAR 183134 GUITAR, January ss02