Slash - Guitar Anthology PDF [PDF]
from Lenny Kravitz - Mama Said Always on the Run Words by Lenny Kravitz Music by Lenny Kravitz and Slash Intro Moderat
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from Lenny Kravitz - Mama Said
Always on the Run Words by Lenny Kravitz Music by Lenny Kravitz and Slash
Intro Moderately slow q = 86
μ
Gtr. 1 (dist.)
* E7#9
f
P.M.
P.M.
7
0
5
4
0
0
P.M.
P.M.
5
5
0
0
7
0
10
7
0
5
7
4
P.M.
0
P.M.
5
4
0
5
5
P.M.
7
0
5
4
0
5
5
2
0 3
2
0
5
5
2
0 3
2
0
*Chord symbols reflect implied harmony.
Riff A
0
f
19 19
Gtr. 2 (dist.)
P.M.
7
5
4
0
P.M.
5
4
0
0
0
0
P.M.
5
P.M.
5 0
P.M.
5
5
P.M.
7
0 0
7
0
P.M.
7
5
4
0
5
End Riff A
5
5
2
0 3
2
0
7
Copyright © 1990 Miss Bessie Music (ASCAP) and Dik Hayd Music (ASCAP) All Rights for Dik Hayd Music Administered by WB Music Corp. International Copyright Secured All Rights Reserved
1
Gtr. 1 tacet
Gtr. 2: w/ Riff A (2 times)
D#7sus2 E7sus2
Gtr. 1
7
0
Gtr. 3 (dist.)
f
5
7
5
X X X
7
X X X
X X X
5 5
5
X X X
X X X
7
5
7
5
7
11 11 10 11
X X X
X X X
E7#9
12 12 11 12
12 12 11 12
D#7sus2 E7sus2
Riff B
End Riff B
Gtr. 3
X X X
12 12 11 12
X X X
5
7
5
7
X X X
5 5
X X X
X X X
5
X X X
X X X
7
5
7
5
X X X
X X X
7
11 11 10 11
12 12 11 12
12 12 11 12
12 12 11 12
Verse Gtr. 2: w/ Riff A (4 times) Gtr. 3: w/ Riff B (6 times)
E7#9
1. And
E7#9
And
E7#9
And
E7#9
And
2
my
3
ma - ma
3
ma - ma
3
ma - ma
said
that
said,
“Leave
“Be
is
bad
home
a
you will
D#7sus2 E7sus2
gift.
weight
those
life
“There’s much
said,
your
said,
my
ma - ma
my
my
3
D#7sus2 E7sus2
lift.”
D#7sus2 E7sus2
boys
a - lone.”
be - fore
the
dawn.”
D#7sus2 E7sus2
E7#9
And my
Gtr. 2
7
E7#9
4
But my
“You can
7
0
X
ma - ma
said,
P.M.
7
0
5
4
0
7
X
Chorus G5
5
7
5
0
be
7
Gtr. 3
5
5
7
5
7
5
4
5
0
5
5
big or
7
5
ways on
the
-
ways on
X X X
X X X
5
2
0
D#7sus2 E7sus2
5
0
5
5
2
-
3
small.”
4
0
2
P.M.
1
2
D#7sus2 E7sus2
run.
the run.
X X X
X X X
5
7
X X X
X X X
5
7
5
11 11 10 11
12 12 11 12
12 12 11 12
12 12 11 12
X X X
7
X X X
Rhy. Fig. 1
End Rhy. Fig. 1
2 0
2 0
X X
2 0
2 0
X X
X X
X X
Gtr. 2
X X
(But I’m al
E7#9
7
0
poor.”
P.M.
Al
“You can
A5
rich or
End Riff C
0
0
D#7sus2 E7sus2
be
P.M.
5
7
3
5
said,
P.M.
0
ma - ma
Riff C
3
1/4
X X
X X
2 3
0
P.M.
7
5
4
0
P.M.
5
5 0
P.M.
0 0
7
3
G5
A5
But
I’m
al
-
ways
on
the
run.)
7
5
7
5
1/2
X X X
5
7
5
X X X
X X X
7
7
X X X
1/4
5 3
5 3
X X
X X
X X
X X
2 0
2 0
X X
X X
3
Interlude Gtr. 2: w/ Riff A (2 times) Gtr. 3: w/ Riff B (2 times)
E7#9
E7#9
D#7sus2 E7sus2
Verse Gtr. 2: w/ Riff A (2 times) Gtr. 3: w/ Riff B (4 times)
E7#9
2. And 3. And
E7#9
my my
But And
my my
3
ma - ma ma - ma
ma - ma ma - ma
said, said,
that “Ba - by,
said said,
3
“Don’t
4
D#7sus2 E7sus2
it’s
take “You must
don’t
to be that cra - zy
good ride
than
more push
3
a with
D#7sus2 E7sus2
fruit - ful. horse.”
mouth - ful.” much force.”
D#7sus2 E7sus2
1st time, Gtr. 2: w/ Riff C 2nd time, Gtr. 2: w/ Riff C (2 times)
E7#9
And And
3
my my
ma - ma ma - ma
said said,
that “Go
it’s get
D#7sus2 E7sus2
3
good all
to that
be you’re
nat - u - ral. af ter.”
To Coda
E7#9
3
And And
my my
ma - ma ma - ma
P.M.
7
0
5
4
Chorus G5
P.M.
that it’s that
good love’s
P.M.
5
5
0
said said
Gtr. 2
0
0
(But I’m al
Gtr. 3
7
5
4
0
5
tu - al. ters.
5
4 2
5
2
ways on
-
ways on
the
run.
-
3 1
D#7sus2 E7sus2
-
E7#9
Al
to be fac all that mat
P.M.
0
A5
7
0
D#7sus2 E7sus2
the run.
1/2
X X X
X X X
5
7
5
7
X X X
5 3
5 3
X X
2 0
2 0
Gtr. 2
X X
X X
X X
5 5
X X X
X X X
5
7
X X X
X X X
5
X X
7
2
2 0
7
5
7
P.M.
5
4
0
X X X
X X X
7
7
P.M.
5
5 0
P.M.
0 0
5
7
5
7
5
G5
A5
X X X
X X X
But
I’m
al
-
ways
on
5 5
7
5 3
5 3
X X
the
run.)
0 0 0
5 5
5 5
5 5
7
X X
X X
X X
2 0
2 0
X X
X X X
X X X
0
0
5
7
2
2
Interlude Gtr. 2: w/ Riff A (2 times) Gtr. 3: w/ Riff B
E7#9
D#7sus2 E7sus2
Oh.
E7#9
D#7sus2 E7sus2
Spoken: Slash.
Gtr. 1
steady gliss.
19
7
X X X
Gtr. 3
X X X
6
X X X
5
7
5
5 5
X X X
X X X
5
7
X X X
0 0 0
5
7
12 12 11 12
12 12 11 12
12 12 11 12
12 12 11 12
12 12 11 12
12 12 11 12
12 12 11 12
X X X
11 10 11
12 12 11 12
Guitar Solo A5
A6
A5
A6
A5
A6
Gtr. 1
4
5
0
5
0
Gtr. 3
semiP.H.
5
7
0
7
5
5
0
7
A5
1
0
5
7
5
7
5 5 5
2 0
2 0
7
5
5
7
0
7
5
5
0
7
9
9
1/2
X X X
X X X
5
7
0 0 0 0
7
7
7
X
X
5
7
X X X
5
X X X
X X X
7
X X X
5
5
7
5
Gtr. 2
2 0
2 0
4 0
2 0
2 0
2 0
4 0
2 0
4 0
2 0
2 0
2 0
1/4
3
0
0
Gtr. 2: w/ Riff A
1 15
1
15
Gtr. 3
X X X
X X X
4 4
X X X
3
5 4 4
15 12
6
1
12
X X X
Gtr. 1
1/2
12
12
4 4
15 14
1
14 12
14
0 0
4 4
6
X X X
X X X
X X X
1
12 15 12 14
14
12
14
1/4
0
12 14
14 12
14
14
14
12 14 12
0
E7#9
1/4
4
4
2
5 5
X X
4
5
X X
X X
4
5
1/4
5
X X
7
B5
B6
B5
B6
B5
Gtr. 1
1
1
10
10
3
3 1/2
7
7
10 7
10
9
9
7
7
8
Gtr. 3
12
B6
B5
1
0
12
1
12 11 12 11 12
12
12
12
12
5
12
12
1/2
0 X X
X X
X X
X X
X X
X X
9 9
7
0
5
7
X X
7
7
7
5
7
4
5 2
5
7
X X
X X
0 0
X X
5
5
Gtr. 2
7
7
7
grad. bend
4 2
4 2
6 2
4 2
4 2
4 2
6 2
4 2
4 2
4 2
6 2
4 2
4 2
4 2
1/2
5
Gtr. 2: w/ Riff A (2 times) Gtr. 3: w/ Riff B (2 times)
3
12
15
1/4
15
12
12
3
1/4
15
3
1/4
E7#9 Gtr. 1
15
1/4
15
12
12
15
15
12
12
15
12
12
D#7sus2 E7sus2
Ah.
6 1
15
14
12
15
12
15
12
15
1
12
12 14
15
12 14
1/2
14
12
14
12
14
12 12
8
12
10
D.S. al Coda Gtr. 1 tacet
E7#9
D#7sus2 E7sus2
12 12 12
12
12 12
11
Coda Chorus Gtr. 2: w/ Rhy. Fig. 1 (3 1/2 times)
G5
A5
E7#9
Al - ways on
Gtr. 3
X X X
X X X
5
7
G5
5
the run.
7
X X X
X X X
X X X
5 5
5
7
But I’m al
X X X
X X X
5
7
5
11 11 10 11
12 12 11 12
12 12 11 12
12 12 11 12
X X X
7
X X X
E7#9
A5
D#7sus2 E7sus2
the run.
(But I’m al - ways on
-
On
the
run.
ways
on
the run.
5
7
X X X
1/2
X X X
X X X
5
7
5
7
X X X
X X X
7
7
5
7
5
X X X
X X X
5
7
5 5
X X X
X X X
5
7
9
G5
A5
E7#9
Al
But I’m al
-
ways
on
-
ways on
the
run.
the run.
D#7sus2 E7sus2
11 11 10 11
12 12 11 12
12 12 11 12
12 12 11 12
1/2
X X X
X X X
5
7
5
X X X
7
X X X
7
7
5
7
X X X
5
G5
5
7
5
7
ways
on
ways
on
X X X
5 5
X X X
X X X
A5
Al
X X X
X X X
X X X
5
7
But
I’m
al
5
7
-
-
the
run.
the
run.)
X X X
X X X
5
7
Outro Gtr. 2: w/ Riff A (2 times) Gtr. 3: w/ Riff B (6 times)
E7#9
Spoken: Uh,
E7#9
You
10
want
it,
uh,
right
now?
what’s
up,
ma
-
ma?
What
you?
Hold
on.
3
D#7sus2 E7sus2
D#7sus2E7sus2
Yeah!
P.M.
3
5
0
7
5
7
0
P.M.
7
0
P.M.
7
5
4
5
0
5
5
0
2
3
5
4
5
0
P.M.
7
5
5
4
P.M.
0
0
7
5
7
5
7
7
9
7
9
7
9
D#7sus2 E7sus2
7
0
5
0
P.M.
5
5
0
2
P.M.
7
0
5
4
5
0
5
5
0
2
3
2
0
D#7sus2 E7sus2
P.M.
7
5
4
5
5
7
5
7
1
P.M.
0
5
0
7
0
5
4
0
Dsus2/C#
X X X X 5 X X
7
5
Gtr. 2
P.M.
7
5
4
0
7
X 5 X X X 5 X X X X 5 X
P.M.
5
7
0
7
7
5
7
X X X X 5 X X
0
7
7
5 4
0
X X X X X X
7
5
0
4
2
P.M.
5
0
5
Dsus2 Esus2
5
P.M.
E7#9 Gtr. 3
0
1/2
E7#9
grad. bend
P.M.
5
0
0
E7#9
0
D#7sus2 E7sus2
0
4
E7#9
0
5
1
P.M.
D#7sus2 E7sus2
7
7
0
E7#9
Gtr. 2
10 10 10 10 10 10 10 10 9 9 9 9
10 10 9
5
μ
12 12 11
4
4
4
4
5
7
7
11
from Slash - Apocalyptic Love
Anastasia Words and Music by Slash and Myles R. Kennedy
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately slow q = 80 Dm
Bb
Gtr. 1 (nylon-str. acous.)
mp
w/ fingers let ring throughout
0
1
3
2
3
2
G7/B
1
3
3
0
0
2
0
3
0
1 0
2
A
3
0
1
3
2
0
1
3
3
3
1
3
3
1
0
1
0
5
5
3
2
5
5
5
3
2
2
G
0 0 3
1
3
3
1
3 1
1
0
1
0
3
5
C
1
3
1
0
3
0
2
3
0 3
Dsus2/C
3
0
3 1
2
3
0
2
C
0
2
Bb
1
3
Dm
4
3
1
A7
0 3
0
3
G7/B
2
C#º
2
0
2
G7
0
2
0
Bb
1
3
2
3
F
2
2
0
2
0
3
1 2
0
3
3
E
5
0 0 3
0
0 1
3
3
3 3 1
2
1 0
2
2
1
0
0
© 2010, 2012 DIK HAYD MUSIC, EMI APRIL MUSIC INC. and HAPPY PAPPER MUSIC All Rights for DIK HAYD MUSIC Administered by WB MUSIC CORP. All Rights for EMI APRIL MUSIC INC. and HAPPY PAPPER MUSIC Administered by SONY/ATV MUSIC PUBLISHING LLC, 8 Music Square West, Nashville, TN 37203 All Rights Reserved Used by Permission
0
1
2
1 2
2 0
1
Free time A7
Gtr. 3 (elec.)
0
2
0
2
3
3
3
0
3
1 3
1
0
1
0
2
0 1
0 2
0
Faster q = 104 Gtr. 1 tacet
Dm
Bb
f w/ dist.
10
13
12
13
Gtr. 2 (elec.)
10
13
12
13
10
13
12
13
10
13
12
13
5 6 7 7 5
5 6 7 7 5
6 6 7 8 8 6
6 6 7 8 8 6
11
13
12
13
10
13
12
13
11
13
12
13
10
13
12
6 6 7 8 8 6
6 6 7 8 8 6
13
f w/ dist.
5 6 7 7 5
5 6 7 7 5
G
12
3 3 4 5 5 3
2
15
13
3 3 4 5 5 3
15
12
15
13
15
12
15
13
15
13
15
C
12
15
3 3 4 5 5 3
3 3 4 5 5 3
5 5 5 3
5 5 5 3
13
15
12
15
13
15
12
15
13
15
12
15
13
15
12
5 5 5 3
5 5 5 3
15
A
Dm
14
5 5 6 7 7 5
17
15
17
12
17
15
17
14
17
15
17
5 5 6 7 7 5
15
12
17
17
5 5 6 7 7 5
5 5 6 7 7 5
5 6 7 7 5
5 6 7 7 5
To Coda
Bb
Bb5/A
C5
G
17
15
13
17
12
17
13
17
Bb5
17
15
13
17
F5
12
17
5 6 7 7 5
5 6 7 7 5
13
17
E5
8va
15
loco
18
17
18
14
3 3 3 1
3 3 0
17
15
0
17
13
15
14
15
15
12
5 5 3
3 4 5 5 3
14
15
13
11
12
13
3 3 1
10
13
12
3 3 1
3 1
1
13
12
9
11
12
12
12
10 13 12 13
E5
G5
9 12 10 12 8 12 10 12
D5
7
F5
10
9 10
6 10 8 10
C5
5
12
X X X
X X X
2 2 0
A5
11
E
8
7
8
8
7
5
1
10 4
10
10
9 0
2 2 0
0 0 X 2 2 0
3 3 0 0 X 3
3 2 0
3 3 1
5 5 3
1 2 2 0
0 0 17
3
*A5
G5
A5
G5
A5
Gtrs. 2 & 3 Riff A
End Riff A
5
5
0
5
0
3
5
0
5
0
5
3
0
3
0
3
5
0
5
0
3
5
0
5
0
5
3
0
3
0
3
5
*Chord symbols reflect implied harmony.
Gtr. 2: w/ Riff A
A5
G5
Gtr. 3
3
1/2
5 5
5 5
0
5
0
3
5
0
5
Gtr. 4 (elec.)
0
5
3
0
3
0
3
5
5
5
7
5
7
5
Rhy. Fill 1
5
7
5
1/4
7
7
5
A5
G5
7
5
7
End Rhy. Fill 1
mf
w/ slight dist.
2 2 0
2 2 0
Verse **A5
1. Blood 2. All
red I
sky need
on is
4
des - ert mir - a
-
road; cle;
got law
P.M. 5
0
5
0
3
5
0
a a
2 2 0 **Chord symbols reflect overall harmony.
5
0
5
3
0
3
0
3
5
-
F/A
down to Mex ta make my way men got me run - ning now for - ev -
i - co er - more.
for They’ll
P.M. P.M. P.M. 5
0
5
0
3
5
0
5
0
5
3
0
3
0
3
5
1
2
2nd time, Gtr. 3: w/ Fill 1
what I hunt
me
G/A
0
5
0
3
5
0
5
0
5
0
3
0
3 4 5
X X X
re
3 4
3
5
0
0
3
5
0
5
P.M.
2 2 0
2 2 0
2 2 0
it will nev - er in my heart, my ma - ma, now I’ve got
5
This fi Oh,
5
to
die; go;
ev nev
I’ll
P.M. P.M. P.M. 5
0
5
0
P.H.
P.M.
semiP.H.
P.M.
1
P.M.
1/2
5
0
5
0
5
1/2
3
0
3
Pitch: E
1 2 3
-
3
was wrong. of time.
that it the end
I know un - til
P.M. P.M. P.M. 5
did. down
A5
0
5
3
0
3
0
3
-
2 2 0
2 2 0
F5/A
will be left ’ry - thing I love er love an - oth - er how I loved
be - hind. you so.
No I’m
P.M. P.M. P.M.
5
5
0
5
0
3
5
0
5
0
5
3
0
3
0
3
5
string noise
X X
X X
2 2 0
10 10 8
10 10 8
Fill 1 Gtr. 3
P.H.
5
5
P.H.
0
5
7
5
7
5
7
5
3
5
3
5
turn - ing so
G5/A
back, a - fraid
A5
for - ev - er to leave this
gone all
0
5
0
3
5
0
5
0
5
3
0
3
0
3
Gtr. 4
Gtr. 2
5
5
14 14 12
14 14 12
0
14 14 12
12 12 10
12 12 10
12 12 10
10 10 8
All
my
3
0
3
0
2 2 0
3
love,
P.M.
P.M. P.M. P.M. 5
to - night. be - hind.
Gtr. 3
0
0
2 2 0
0
0
Chorus Gtr. 4 tacet
D5
An
*Gtrs. Rhy. Fig. 1 2&3
7 7 5
P.M. 5
*Composite arrangement
6
5
7 7 5
P.M. P.M. 5
7 7 5
5
5
7 7 5
-
a
-
sta
P.M.
7 7 5
7 7 5
5
-
sia,
Bb5
0
3 3 1
An
P.M. 1
1
3 3 1
-
a
P.M. P.M.
3 3 1
3 3 1
1
3 3 1
1
1
-
sta
-
P.M.
1
0
-
sia,
G
this
may
be
C5
our
last
good
-
bye.
End Rhy. Fig. 1
P.M.
4 5 5 3
4 5 5 3
3
3
P.M. P.M. 3
4 5 5 3
3
3
D5
4 5 5 3
P.M.
4 5 5 3
4 5 5 3
You
can’t
0
3
P.M.
5 5 3
3
Bb5
save
P.M.
P.M.
5 5 3
5 5 3
5 5 3
I
am
fad
P.M. P.M.
3 3 1
3 3 1
5 5 3
5 5 3
3
5 5 3
3
3
me,
0
0
-
Rhy. Fig. 2
7 7 5
P.M. 5
5
7 7 5
P.M. P.M. 5
7 7 5
5
5
7 7 5
P.M.
7 7 5
7 7 5
5
P.M.
3 3 1
0
1
3 3 1
1
1
3 3 1
1
1
P.M.
1
0
1.
-
ing.
C5
Blood
is
on
A5
my
hands
to
-
night.
End Rhy. Fig. 2
5 5 3
P.M. 3
3
5 5 3
P.M. P.M. 5 3
5 5 3
3
3
5 5 3
P.M.
5 5 3
5 5 3
0
0
2 2 0
0
3
0
0
1
0
3
2 2 0
7
Interlude Gtr. 2 tacet
Gtr. 2: w/ Riff A
G5
A5
G5
A5
Gtr. 3
1
5
0
5
0
3
1
0
5
0
5
3
A5
G5
1/4
0
0
3
5
0
5
0
3
5
0
5
0
5
3
0
3
0
3
5
2. Gtr. 4: w/ Rhy. Fill 1
G5
A5
A5
2 7 6 7 5 20 7 7 5 4 5
0
5
0
3
G7[no3rd]
hands
to
-
night.
3
0
G5
my
5
Interlude G5 Gmaj7[no3rd]
0
0
1
Gmaj7[no3rd]
0
3
2 0
G7[no3rd]
Gtr. 3
P.M.
5
0
5 5 3
P.M.
4
0
3
Gtr. 2
8
P.M.
3
5 5 3
P.M.
3 3
P.M.
3 3
3
P.M.
2 3
3
2
0
P.M.
5
0
3
5 5 3
5 5 3
5 5 3
5 5 3
P.M.
4
0
3
P.M.
3 3
P.M.
3 3
5 5 3
5 5 3
3
2
3
3
2
0
D.S. al Coda
G5
Gmaj7[no3rd]
G7[no3rd]
G5
P.M. P.M. P.M. P.M. P.M. 5
0
3
4
0
3
3
3
5 5 3
5 5 3
3 3
2
3
3
2
Gmaj7[no3rd]
P.M.
12
0
0
0
11
0
0
10
3
10
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
P.M.
9
10
Coda
G7[no3rd]
9
10
1/2 Bb5
F5
E5
13
12
13
13
10
12
9
12
11
12
12
11
3 3 1
0
X X X
2 2 0
0
12
5
10
11
11
12
10
2 2 0
X X X
17 17
Guitar Solo Dm
12
3 3 1
13
9
A5
loco
11
10
10
1
Bb5
10
13
7 7 5
3 1
13 10
6 7 7 5
6 7 7 5
3 1/2
10
13
12
13 10
6 7 7 5
6 7 7 5
6 7 7 5
6 7 7 5
0
0
3 3 1
3 1
3 1
3 3 1
1/2 12
12
10
12
1
10
13
10
3 3 1
3 3 1
3 3 1
3 3 1
0 0
0
9
G5
13
1
1
15
13
13
15
13
12
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
0 0
14
let ring
6 7 7 5
5
14
15
17
12
13
6 7 7 5
6 7 7 5
1/2
17
13
12
10 10 8
10 10 8
10 10 8
10 10 8
1/2
1
17
17
15
17
18 17 15 17 15 17 15
6 7 7 5
6 7 7 5
6 7 7 5
7 7 5
7 7 5
0
3
0
C5
G5
Bb5
6 7 7 5
7 7 5
3
17
6 7 7 5
8 8 6
10
15 17 18 17 15
18 17 15 17 18
7 7 5
0 0
0
0
15 17 18 17 15
10 10 8
18 17 15 17 18
15 17 18
5 5 3
18 17
8 8 6
3
15 17 18
17
6 7 7 5
6 7 7 5
6 7 7 5
6 7 7 5
F5
0
0
E5
3
6
15
3
3
1
17 18
13
10 10 8
10 10 8
10 10 8
10 10 8
9
17
A5
13 12
Dm
1/2
Bb5 8va
12
6
5
13
0 0
A
1/2
3
5 5 3
C5
15 18 17 18 17 15 17 15 17 15
3 3 1
18
15
P.M.
0
0
18 17 15 17
2 2 0
0
0
A5
E5
G5
8va
15
17
15
18
15
17
15
17
18
17
15
17
15
2 2 0
3 3 0 0 X 3
3 2 0 X 2
X X X
E5
2 2 0
15
17
3
3
15
17
15
14
15
14
1
2
14
0 0
19
8va
3
0
3 3 1
10 10 8
19
19
2 2 0
2 2 0
20
17
0
1
14
15
C5
A5
14
17
X X X
F5
2 2 0
18
D/F#
loco
15
14
17
15
All
my
love,
grad. bend 1/2
X
17
20
20
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
X X X
X X X
11
Chorus Gtr. 2: w/ Rhy. Fig. 1 (3 times) *Gtr. 5: w/ Rhy. Fig. 1 (1st 3 meas.)
Gtr. 3 tacet
D5
-
sia,
Bb5
An - a - sta
An - a - sta
-
sia,
G
this
may
be
8va
Gtr. 3
1
20
*Gtr. 5 (elec.) w/ dist., played f.
C5
our
Gtr. 5
Bb5
last
good
5 5
5
3 3 1
12
-
6
5
7
5
P.M. 1
5
7
5
1
3 3 1
7
5
I
am
fad
P.M. P.M.
3 3 1
3 3 1
1
3 3 1
1
1
P.M.
0
7
7
-
ing.
G
1
5 5
7
4 5 5 3
7 5
3
3
4 5 5 3
You
can’t
5
P.M.
7 7 5
P.M.
P.M.
7
bye.
P.M.
me,
D5
let ring
5 5 3
5
5
3
3
3
save
P.M.
7 7 5
7 7 5
0
Blood
is
on
P.M. P.M. 4 5 5 3
4 5 5 3
0
P.M.
4 5 5 3
4 5 5 3
3
0
C5
my
hands
to
-
Bb5
-
3 3 1
8 5
10
9
8 10
9
10
An
P.M. 1
3 3 1
P.M. P.M. 1
3 3 1
1
8
sia,
1
10
1
9 X 7
P.M.
10
a
An
9
7 7 5
10
G
-
night.
let ring
5 5 3
D5
-
sta
10 X 8
5
5
P.M.
7 7 5
5
7 7 5
5
sia,
P.M.
4 5 5 3
4 5 5 3
3
3
9 X 7
3
3
a
-
sta
-
10 X 8
for
your
hon
P.M. P.M. 4 5 5 3
-
9 X 7
5
-
3
P.M.
-
10
9 X 7
8
Gtr. 2: w/ Rhy. Fig. 2
C5
-
or
I
took
5 5 3
P.M. 3
3
5 5 3
a
P.M. P.M. 3
5 5 3
3
3
9 X 7
D5
life.
10 X 8
7 7 5
P.M. 5
5
7 7 5
You
can’t
P.M. P.M. 5
7 7 5
5
5
9 X 7
save
10 X 8
13
Bb5
me,
3 3 1
A5
1
3 3 1
1
I
am
fad
hands
7 X 5
1
C5
-
10 X 8
ing.
5 5 3
9 X 7
5 5 3
3
Blood
is
on
P.M. P.M.
P.M. 3
3
5 5 3
3
3
7 X 5
9 X 7
μ
6 X 4
3 3 1
1
my
Gtr. 5
P.M. P.M.
P.M. 1
to
-
night.
A5
9 X 7
14 X 12
* 1/2
grad. bend
14 12
3
3
*Vol. swell Gtr. 2
2 2 0
P.M. 3
0
0
0
1
0
3
2 2 0
14
2 2 0
slight P.M. slight P.M. 2
2 2 0
2 2 0
2 2 0
Interlude A5
3
0
2
3
0
3
2
0
3
2 3 2 0 2
0
4
0
slight P.M.
0
0
0
4
0
0
2
0
4
2
4
0
4
2
0
3
3
2
0
3
0
2
2
3
0
2
3
0
3
2
0
3
2
8va
fdbk.
2 2 0
2 2 0 Pitch: C#
3
8va
2
3
2
0
3
2
0
2
0
3
0
3
2
2
3
2
0
2
0
2
3
0
2
0
4
4
7
5
X X
5
string noise
6
5
2 2 0
7
6
7
Asus4
9
9
2 2 0
2 2 0
3 2 2 0
9
7
7
7
7
Dm[add9]/A
2 2 0
2 2 0
1
6
7
9
9
10
9
0 0
6 7 7 0
10
let ring
0 0
6
loco
2 2 0
Outro-Guitar Solo A5
0
3
10
9
10
0 0
0 0
15
A5
3
1
9 10 9 7 9
7 9 7
9
7
2 2 0
10 11
10
X X X X X X
Asus4
10
3 2 2 0
16
2 2 0
12
1
10 11
2 2 0
10 11 10 8 11 10 11 10 8 10
3 4 5 0
9
0
2 2 0
10
7
12
11
3 2 2 0
2 2 0
10
6
2
10
0 0
0 0
2 2 0
1 10
1 10
10
10
9
10
2 2 0
2 2 0
2 2 0
Dm/A
1
13
13
0 0
2 2 0
1
12
6
1
9 10 9 9
1/2
1/4
10 10 10
10
9
3
6 7 7 0
1/2
A5
3
2 2 0
G/A
11
10
9
3
Dm/A
11
10
2 2 0
9
Asus4
0 0
6 7 7 0
1 13
1 13
13
12
13
12 13 12 10 13
12 13 12 10
0 0
0 0
A5
12 10 12 10 12 10 12 10
9 10 9
9
11
9
11 10
10
3 1
5
0
14
2 2 0
2 2 0
2 2 0
2 2 0
15
15
1
15 13 15 13 15 13 12 13 12 13 15 13
15
2 2 0
2 2 0
Asus4
7
15
13
12
13
12
13
15
13
15
13
12
13
12
13
15
13
15
13
12
13
12
13
15
13
15
13
12
3 2 2 0
Dm/A
13
12
13
0 0
0 0
15
G/A
9
13
6 7 7 0
15
13
12
13
12
13
15
13
15
14
17
15
7
17
15
13
15
13
15
13
12
13
12
13
12
13
12
10
12
X X X
X X X
3 4 5 0
0
10
12
10
17
A5
A
Asus4
8va
grad. bend 1
9
9 5
10
9
10 12
5
12
12
19
3
1
19
19
17
20
20
20
20
1
22
0
Rhy. Fig. 3
2 2 0
2 2 0
2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 0
2 2 0
Dm/A
8va
let ring let ring
2 2 2 0
2 2 2 0
2 2 2 0
3 2 2 0
3 2 2 0
grad. bend
1
22
6 7 7 0
6 7 7 0
6 7 7 0
6 7 7 0
6 7 7 0
6 7 7 0
6 7 7 0
3
0 0 0
3 2 2 0
2
0
0
3
21
22
6 7 7 0
6 7 7 0
6 7 7 0
6 7 7 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
0 0 0 0
21
22
0 0 0 0
22
22
22
0
0
A
1
22
0
3
21
8va
7
21
18
18
18
21
21
18
18
21
18
18
17
17
17
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
18
18
18
18
17
18
17
15
18
18
17
17
18
15
15
17
15
2 2 2 0
2 2 2 0
2 2 2 0
0
0
15
Asus4
8va
6 13
13
15
13
13
15
13
13
16
16
15
15
17
15
13
3 2 2 0
3 2 2 0
3 2 2 0
3 2 2 0
3 2 2 0
3 2 2 0
Dm/A
13
15
13
12
13
12
10
13
3 2 2 0
3 2 2 0
3 2 2 0
3 2 2 0
13
12
13
12
0 0
loco
7
7
7 10
12
13
15
13
15
13
12
6 7 7 0
6 7 7 0
A
15
5
G/A
8va
12
13
12
12
12
10
13
0 0
12
12
13
12
10
12
3 4 5 0
3 4 5 0
3 4 5 0
3 4 5 0
3
10
9
10
9
9
10
9
7
7
10
10
9
10
7
12
10
10
6
9
6
5
9
9
12
12
10
10
0 0
5 7
End Rhy. Fig. 3
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
19
7 P.M. P.M. P.M. P.M. Gtr. 2: w/ Rhy. Fig. 3
Asus4
Gtr. 5
7
6
7
7
6
7
7
6
7
7
6
7
7
6
9
7
6
7
7
6
9
7
6
Dm/A
7
6
6
9
7
6
7
9
6
8
10
9
7
8
6
9
7
6
7
6
9
8
10
8
10
10
7
6
1/2
9
9
8
9
6
8
10
A
3
7
7
9
8
9
9 12
Asus4
P.M.
5
0
5
0
1/4
3
P.M.
0
5
Dm/A
P.M.
0
semiP.H. 1
5
3
P.M.
semiP.H. 1
P.M.
P.M.
0
5
0
3
0
5
0
0
5
0
5
0
semiP.H. 1
3
P.M.
0
4
4
5
0
semiP.H. 1
5
3
4
5
4
P.M.
A
5
Gtr. 5
P.M.
1/2
Free time A5
semiP.H. 1
3
1/2
4
0
5
G/A
P.M.
5
4
4
5
3
fdbk.
2 2 0
20
5
3
1
Gtr. 2
0
2 2 0
5
semiP.H. 1
3
3
P.M.
5
3
0
from Slash’s Snakepit - It’s Five O’Clock Somewhere
Beggars and Hangers On Words and Music by Slash, Eric Dover, Matt Sorum, Michael Inez and Duff McKagan C'9/G
G
5fr
D
D'9
5fr
131211
A
7fr
111111
31211
7fr 111111
Gtrs. 1, 2, 4 & 7: Open D tuning, down 1/2 step: (low to high) Db-Ab-Db-F-Ab-Db Gtrs. 3, 5 & 6: Open G tuning, down 1/2 step: (low to high) Db-Gb-Db-Gb-Bb-Db Gtrs. 8, 9 & 10: Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb Gtr. 11: Open D7 tuning, down 1/2 step: (low to high) Db-Ab-Cb-F-Ab-Db
Intro Slow q = 73 D5
D5
F5
F5
D5
D5
F5
D5
F5
D5
F
G
w/ pick & finger
3 3 3 3
5 5 5 5
w/ slide
3
2
0
0
D5
2 2
F5
Gtr. 2 (dist.)
3 3
0
2 X 2
0
D5
F5
3
0
0
3
D5
3
0
2
0
0
0
F5
3 3 3
2 2 2
3 3
2 2
D5
0
0
G5
3 3 3
2 2 2
0
12 12 12
mp
F5 Rhy. Fig. 1
Gtr. 1 (clean)
0
D5
F5
* pp
mf w/ slide
12 12 12
12 12 12 *Vol. swell
Gtr. 3 (slight dist.)
mf 10 10 10
Gtr. 1
w/ pick & finger
3 3
2 2
0
0
2
3
0
0
2 2 2
3 3 3
0
0
2 2 2
3 3 3
0 0
2 2 2
3 3 3
3
2
0
0
2
3
0
3 3
5 5
3
2
0
0
2
© 1995 DIK HAYD MUSIC, DOVER SOLE MUSIC, DRACSORUM MUSIC, MICHAEL INEZ MUSIC and PIMP MUSIC All Rights for DIK HAYD MUSIC Administered by WB MUSIC CORP. All Rights Reserved Used by Permission
3
0 0
3 3
1
Gtr. 1: w/ Rhy. Fig. 1 *D
F5 D5 F5 D5 F5 D5
F5 D5 F5 D5 F
G
D5
F5 D5 F5 D5
mf let ring
3 3
0 0 0
12 12
12
12
12 12
7 7 7 7 7
End Rhy. Fig. 1
0 0 *Chord symbols reflect overall harmony.
F5
D
F5
f
w/o slide 1/4 2 2
3 3
3
5
4
2
0
0
3
D
Riff A
D5
D5 G5
F5
Gtr. 2
1/4
1/4
0 3 12
2
0
17
0
3
0
0
0 3
0
3
0
Rhy. Fig. 2
Gtr. 3
X X X X
X X X X
7 7 7 7
7 10 7
7 7 7 7
X X X X
X X X X
7 7 7 7
mf 10 10 10
2
7 7 7 7
10 10
7 7 7
1/4
3
2
0
0
1/4
0
3
0
0 3
0
3
3 3 3
5 5 5
7 7 7 7
10 7
7 7 7 7
X X X X
X X X X
10 10 10
12 12 12 12
X X X X
X X X X
7 7 7
3
2
0
X X X X
7 7 7 7
X X X X
0
1/4
0
3
1/4
0
0
D
G5
F5
3
7 7 10 7
7 7 7 7
X X X X
7
7 7 7
0
3
0
10
7
7
7 7 7 7
Gtr. 2: w/ Riff A (1st 3 meas.)
F
G
F5
D
End Riff A
3
2
0
3
0
3
13 10 12 10
10 10 10 10
10 10 10
10 10
10 10 10
0
3
2
0
3
5
12
12 12 12 12
12 12 12 12
12 12 12 12
15 12 14 12
F
Gtr. 3
X X X X
X X X X
7 7 7 7
10 7
7 7 7 7
X X X X
X X X X
7 7 7
10 10 10 10 10
0
0 3
12 12
7
G
7 7 7 7
10 10
7 7 10 7
7 7 7 7
X X X X
X X X X
7 10 7
7 7 7 7
7 7
D
End Rhy. Fig. 2
12 12 12 12 12
X X X X
X X X X
7 7 7 7
10 7
7 7 7
X X X
10 7
7 7 7 7
7 7
7 7
3
F
G
F5
D
1. Well, I
Gtr. 2
3
2
0
3
3
0 0
1
3
2
0
13 10 12 10
10 10 10 10
X X X
12 12 12 12 12
12 12 12 12
12 12 12 12
10 10
10 10 10
10 10 10
0 0
3
5
Gtr. 3
12
7 7 7 7
10 10 10
7
0 0
3
14 12
know
Verse Gtr. 3 tacet
Gtr. 2 tacet
*D
you could - n’t
Riff B
Gtr. 4 (clean)
5 0 0
4
Am[add4]
love
me
’cause
you’re
mp
let ring throughout
2
0 0
4 4
2
0 0 2
4 4
2
0 0
Gtr. 2
0 0 *Chord symbols reflect implied harmony.
4
0
3 4
2
0
0
0
3
2
3
3 2
3
2
3
G
prom
-
ised
0
a wealth
0
2
1
to
Gtr. 4 (clean)
D
2
y
2
0
Gtr. 3
1 0
0
3
End Riff B
0
0
0
0
0 0
3 2 0
Gtr. 4: w/ Riff B (2 times)
Am[add4]
you see
-
G
in’?
Is
Gtr. 3
- ding band?
Should I
* pp w/ slide
mp
10 10 10 10
go
12 12 12 12
or
a wed
-
Am[add4]
to see
noose
0 0 0 0 X 5
a
D
that
2 1 0
3 2 0
What are
look.
0 0 0 0 X 5
Gtr. 2
a
mp
Take
0
2
1
man.
1
0
-
a heal
-
12 12 12 12
10 10 10 10
er?
*Vol. swell
7 7 7 7 7
7 7 7 7 7
Rhy. Fig. 3
Gtr. 3
5 5 5 5
5
Gtr. 2 tacet
G
Nerv
D
-
ous twitch
-
in’
in
my
End Rhy. Fig. 3
7 7 7 7 7
0 0 0 0 X 5
*Cadd9/G
G
Rhy. Fig. 4A
hands.
Gtr. 3
Gtr. 4
open
D
D
End Rhy. Fig. 4A
Oo,
Gtr. 5 (clean)
mp
w/ slide 7
8
Gtr. 6 (clean)
8
7
7
mp w/ slide 2
Rhy. Fig. 4
0 0 0 0 0
*See top of first page of song for chord diagrams pertaining to rhythm slashes.
6
5 5 5 5 5
7
Gtr. 3
4
7 7 7 7 7
End Rhy. Fig. 4
Gtrs. 3 & 4: w/ Rhy. Figs. 4 & 4A
Cadd9/G
G
nerv
-
ous twitch
-
in’
in
my
8
8
Gtr. 6
7
hand.
Gtr. 5
7
D
8
8
7
w/ slight dist.
7
11
Pre-Chorus Gtr. 5 tacet
Dadd9 Gtr. 4
God
Gtr. 6
6
help
rid
this feel
me
7
Gtr. 3
-
7
2
2
2
3 4
in’
3 2 4 2
’cause I’m
6
let ring
2 3 2 4
7
A
2 2
2 2 2 2
2 2
7
G
Cadd9/G
to
piec
-
Gtr. 6
4
2
all
fall - in’
Gtr. 2
es
and
5
G
I
can’t
4
5
3
get
out
-
ta
bed.
4
4
f
17
0 0 0 0
0 0 0 0
Gtr. 3
1 0 2 0
mf
0 0
Chorus Gtr. 2: w/ Riff A (1 1/2 times) Gtr. 3: w/ Rhy. Fig. 2 Gtrs. 4 & 6 tacet
D
Beg
D
F5
-
gars
and hang
-
ers - on
D
try
to
with
a
Bi - ble
in
Beg - gars
and
hang
-
ers - on,
they’ll
take
you
from
ev - ’ry - thing
chip
F5
G5
me.
F
his pock - et cloud - in’
D
F5
Some - one
8
you
G
see.
it
a
- way.
F
G
To Coda
D
Bur
y
your soul
in the riv - er ’cause the
end
is
here
to
G
stay,
oh,
yeah.
Riff C
End Riff C
1/4
3
2
0
0
1/4
0
3
Gtr. 2
-
F
0
3
3 3
0
2
1
0
3
2
10 10
12 12 12 12 12
12 12 12 12 12
12 12 12 12 12
3
3
0
X X X X
X X X X
7 7 7 7
7 10 7
7 7 7 7
X X X X
Interlude C
7 7 7 7
7 7 7 7
10 7
7 7 7 7
10 10
10
G
*Gtrs. 2 & 7 (dist.)
f
10 10
10 10
12
10 10 10 10
10 10 10 10
10 10 10 10
0
14 12
3
0
End Rhy. Fig. 5
12 12
12 12
D
0
5
Rhy. Fig. 5 Gtr. 3
1/4
0
0
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
w/ slide 9 9 9 9
10 10 10 10
*Composite arrangement
Gtr. 3
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 8 7 7 7
7 8 7 7 7
7 8 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
9
C
10 10 10 10
9 9 9 9
G
10 10 10 10
10 10 10 10
10 10 10 10
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
Pre-Chorus Dadd9
God
7 7 8 7 9
7 7 8 7 9
2 3 2 4 2 0
10
2 3 2 4
7 7 8 7 9
7 7 8 7 9
2 3 2 4
2 3 2 4
2 3 2 4
7 7 8 7 9
2 3 2 4
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 8 7 7 7
7 8 7 7 7
7 8 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 8 7 9
2 3 2 4
G
me rid this feel
7 7 8 7 9
A
help
D
-
7 7 8 7 9
7 7 7 7 7 7
7 7 7 7 7 7
2 3 2 4
2 3 2 4
’cause I’m
in’
7 7 8 7 9
2 2 2 2
2 2 2 2
2 2 2 2 2
2 2 2 2 2
2 2 2 2 2
C
fall - in’ all
X X X X X X
5 5 5 5 5 5
0 0 0 X 5
to piec
-
5 5 5 5 5
and I
5 5 6 5 7 5
5 5 6 5 7 5
es
Gtrs. 2 & 7 tacet
G
Cadd9/G
can’t get out
Gtr. 4
G
D
of bed.
2. I was
5 5 5 5 5 5
5 5 6 5 7 5
mp
Gtr. 7
6 7
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 5 5 5 5
5 5
5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5
wrong,
0 0 0 0
0 0
0 0 0 0 0 0
w/ slide
5 5 5 5
5 5 5 5
Gtr. 2
5 5 5 5
Gtr. 3
0 0 0 0 X 5
Verse Gtr. 3: w/ Rhy. Fig. 3 (2 times) Gtr. 4: w/ Riff B (2 times)
Am[add4]
I don’t
need
you.
G
It seems
D
reck
and
- less
un - fair.
11
D
Bet - ter
days
Gtr. 8 (clean)
are far
Am[add4]
be - hind
me.
Guess
mf
w/ slide 5
8
7
G
8
8
7
8
7
7
5
7
that’s
an - oth
-
er cross
I’ll
D
have
to
8
5
7
7
8
7
8
7
8
7
7
bear.
G
D
Oo.
Gtr. 4
5 5 5 5
6 7
12
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5
0 0 0
0 X 5
0 0 0 X 5
5 5 5 5
0 0 0
5 5 5 5 5
Gtr. 3
7 7 7 7 7
7
7
Gtr. 8 tacet
C
0 0
10
10
Interlude Gtr. 4: w/ Riff B (2 times)
D
Am[add9]
Gtr. 9 (dist.)
mf let ring
8
Gtr. 6
7
5
5
7
G
5
D
1
8
5
5
7
5
5
7
7
8
8
7
5
5
7
8
8
7
7
1/2
5
5
5
5
3
5
w/ dist.
3
5
Gtr. 3
7
mp 7 7 7 7 7
0 0 0 0 0
Gtr. 3: w/ Rhy. Fig. 3
Am[add4]
G
D
I
Gtr. 9
8
5
7
Gtr. 6
5
7
8
7
5
7
5
1
8
1 8
7
5
5
7
1/2
8
8
7
8
5
5
3
8
8
7
5
5
7
7
13
Bridge Gtrs. 6 & 9 tacet
C
know
that
there’s
Rhy. Fig. 6
Gtr. 2
f
a
G
and
Rhy. Fig. 6A
5 5 6 5 7 5
5 5 6 5 7 5
5 5 6 5 7 5
5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
C
the
ghost
and
may - be
C
an - y
I
am
-
5 5
0 0 0 0 X 5
0 0 0 0 X 5
0 0 0 0 X 5
0 0 0 0 X 5
lock
it
up
in
G
down,
thing,
we
were
-
but
G
I’m
not
6 5 7 5
6 5 7 5
6 5 7 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
0 0
0 0
0 0
0 0
0 0 0 0
0 0 0 0
0 0 0 0
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
8 7 9 7
8 7 9 7
7 7 7 7
7 7 7 7
7 7 7 7
End Rhy. Fig. 6A
side.
And
D
beat
-
en.
Like
D.S. al Coda
D
to
14
End Rhy. Fig. 6
D
born
Gtr. 3
to
0 0
3
G
5
Gtr. 2
son
-
Gtrs. 2 & 3: w/ Rhy. Figs. 6 & 6A (2 times)
take
rea
let ring
Gtr. 3
a
5 5 6 5 7 5
C
time
D
die.
5
4
0
5
4
7 7 7 7 7
7 7 7 7 7
0
5
7 7 7 7 7
0
5
0
0
5
0
0
5
0
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
7 7 7 7 7
Coda F
end
is
here
to
D
stay.
3
2
3
3
10 10
13 10 10 10 10 10 12 10 10 10
Gtr. 3
0
3
3
2
and hang
9 9
9 9
7 7
-
F5
D
ers - on,
7
10
5
0
1/2
10
Gtr. 2
10 10
Beg - gars
Gtr. 9
G
Gtr. 2: w/ Riff A (1st 2 meas.) Gtr. 3: w/ Rhy. Fig. 2 (1st 2 meas.)
0
5
0
3
10 10 10 10 10 10
12 12 12 12
12 12 12 12
12 12 12 12
12 12 12 12
12 12 12 12
Gtr. 2: w/ Riff C Gtr. 3: w/ Rhy. Fig. 5
F5
G5
D
F
G
beg - gars and hang - ers - on.
let ring 1/2
7 7
12 12
10
12 12 12 12 10 12 12 12 12 12
1 hold bend
12 12 10
13 12 10 12
13
Gtr. 9
1
1
10
13 12
12
10
12
13 12
1/4
12 10 12 10
12 10
1/4
10
12 10
15
Outro E5
G
Gtr. 9
No,
14
14
14
13
12
f
1 hold bend
15 14
14
14
13
12
4 2 X 2
4 2 X 2
4 2 X 2
0 X 5
2
5
2 2 2
2 2 2
2 2 2
Gtr. 2
Rhy. Fig. 7
5 5 5
5 5 5
8va
1 hold bend
20 20
12
11
11
12
12
11
11
12
0 0 0 X 5
0 0 0 X 5
0 0 0 X 5
7 7 0
20
20
19
19
12
End Riff D
1/2
Rhy. Fig. 7A
Gtr. 3
1/2
Riff D
D
no.
1 hold bend
15
no, no,
Gtr. 10 (dist.)
7 7 0
12
7 7
7 7 7 7 0
7 7 7 7
7 7 0
End Rhy. Fig. 7A
5 5 5 5
0 0 0
0 0 0
0 0 0
5 5 5
0 0 0
No,
Gtr. 9
loco
no, no,
1 hold bend
15 14
16
14
14
no,
no,
no, no,
13
12
no.
D
G
8va
1/2
1 hold bend
20 20
12
11
11
12
12
20
20
20
Gtrs. 2 & 3: w/ Rhy. Figs. 7 & 7A (4 times) Gtr. 10: w/ Riff D
E5
End Rhy. Fig. 7
12
20
E5
G
Gtr. 9
loco
1 hold bend
15 14
14
14
13
12
1 hold bend
15 14
14
14
13
12
10 12
11
Gtr. 10
D
12
11
11
11
11
10 12
11
10 12
12
10 12
10 12
0
10
11
0
11
10 11
12
11
12
11
11
11
12
12
11
12
Gtr. 10: w/ Riff D (2 times)
E5
No,
no, no,
no,
no,
no, no,
8va
15
E5
G
No, no, no,
no,
1
20 20
15
14
1 20
15
no,
no, no,
1
20 20
15
15
14
18
20
18
1
14
15 14
17
14
17
17
D
15
17
15
no.
1/4
20
8va
15
17
15
1/2
12
14
no.
Gtr. 9
D
G
17
17
19
19
19
1
17
18
19
17
1
17 20
20 20
17
Free time Gtrs. 2, 9 & 10 tacet
E5
No,
8va
no, no,
1
1
no.
20 20 20
D7
1
20
20
20
1 hold bend
15 14
20
Gtr. 10
G7
Gtr. 9
Gtr. 3 tacet
G
14
14
Gtr. 11 (dist.)
13
12
3 1
12
1
12
3 1
12
12
mf
p
w/ slide
5
4
steady gliss.
5
4
5
4
2 2 2
5 5 5
*
5 5 5 5
5
0 0 0 0
*4th string sounds sympathetically.
Gtr. 3
4 2 X 2
4 4 2 2 X X 2 2
2 2 2
2 2 2 2
Gtr. 2
18
4 2 X 2
0 0 0 X 5
5 5 5 5
from Michael Jackson - Dangerous
Black or White Words and Music by Michael Jackson
Intro Fast q = 159 μ
D5
Gtr. 1 (elec.)
(Drums)
mf
E
D5
w/ dist. P.S.
X
E5
D5
E5
D5
9 9 7
7 7 5
E5
D5
7 7 5
7
7 7 5
E5
D5
7 7 5
7 7 5
0
9 9 9 7
7 7 5
E5
D
E
7 7 5
9 9 7
7 7 7 5
9 9 9 7
D5
*E5
7 7 5
X X X
7 7 5
X X X
X X X
X X X
X X X
X X X
E5
9 9 7
7 7 5
7 7 5
9 9 7
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
9 7
7 7 7 5
7 7 7 5
X X X
X X X
X X X
X X X
X X X
7 7 5
0
0
7 7 7 5
X X X
7 7 5
D5
P.M.
9 9 7
7 7 5
D
Riff A
7 7 5
7 7 5
7 7 5
0
P.M.
7
0
5
P.M.
0
0
*Chord symbols reflect implied harmony.
E5
Gtr. 2 (elec.)
mf
D5
w/ dist. 1/2
9
9
7
7
P.M.
0
7
0
7
P.M.
7
D5
9
Gtr. 1
E5
5
11
P.M.
0
1/2
7
0
P.M.
7
0
5
11
E5
11
9
End Riff A
P.M.
0
0
P.M.
5
0
P.M.
5
Copyright © 1991 Mijac Music All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved
0
7
1
Father: Hey!
Turn it off!
Turn it off! Son: What? D5
E5
Dad, this is the best part! D5 E5
9
p
1/2
9
9
P.M.
0
0
p
P.M.
7
5
0
P.M.
0
9
7
0
P.M.
0
0
7
5
No! E5
E5 G5
1/2
7
P.M.
7
D5
7
P.M.
0
0
P.M.
7
5
0
P.M.
0
9
9
1/2
5
0
8
7
5
7
Gtr. 1: w/ Riff A
It’s too late for this.
D5
Gtr. 2
Turn it off!
E5
D5
No! Dad, this is the best part! Come on! D5
E5
1/2
9
9
9
9
7
7
11
I wanna listen to it, okay? D5 E5
9
Gtr. 1
P.M.
0
2
0
P.M.
7
0
5
P.M.
0
0
7
9
P.M.
0
9
1/2
11
9
9
11
You got things to do tomorrow, No, this is the... E5
D5
1/2
Turn it off now!
Gtr. 2
E5
E5
0
7
5
D5
mf 1/2
7
P.M.
7
D5
11
P.M.
0
0
P.M.
7
0
5
P.M.
0
0
11
11
9
mf
P.M.
5
5
0
5
7
7 5
Gtr. 2 tacet
Ben. Now, I’m warning you. Turn it off now!
E5
D5
E5
D5
E5
D5
D
E
μ
9
9 7
7 5
7 5
7 5
7 5
9 7
7 5
7 5
0
7 5
7 5
9 7
7 7 7 5
9 9 9 7
7 5
7 5
7 5
X X
X X
X X
X X
X X
Free time Gtr. 1 tacet
Son: Yeah, right. Too late? Sure. Eat this!
6 sec.
E5
*Gtr. 3 (elec.)
(Digital samples)
3 sec.
f
w/ dist.
0 0 X 2 9
9
*Doubled throughout
Moderately q = 116
μ[E]
A/E
EsusÊ
E
A/E
E
EsusÊ
E
Ow!
Rhy. Fig. 1
E
10 10 10 10 10 X X 9 9 9 9 9 X X 11 11 11 11 11
9 9 9
X X X X X X
7 9 9
7 9 9
7 9 9
7 9 9
7 9 9
9 9 9
End Rhy. Fig. 1
10 10 10 10 10 X X 9 9 9 9 9 X X 11 11 11 11 11
9 9 9
X X X X X X
7 9 9
7 9 9
7 9 9
7 9 9
7 9 9
9 9 9
3
Verse Gtr. 3: w/ Rhy. Fig. 1
μ[E]
A/E
E
1. I took my ba - by on
EsusÊ
E
A/E
a
E
Sat - ur - day date.
be - lieve
in mir
-
a - cles
and a
mir - a - cle
EsusÊ
E
ah.
But
if
7 9 9
7 9 9
7 9 9
9 9 9
7 9 9
7 9 9
E
ah,
ba - by,
it
9 9 9
10 10 10 10 10 X 9 9 9 9 9 X 11 11 11 11 11
A
X X
you’re think - in’ a - bout my
Now
Hee,
B
same.
A/E
6 7 7 5
6 7 7 5
one and the
has hap - pened to - night.
Rhy. Fig. 2
Gtr. 3
μ[E]
E
But is that girl with you? Yes, we’re
A
I
EsusÊ
don’t
mat - ter
if you’re black or
white.
End Rhy. Fig. 2
6 7 7 5
8 9 9 7
Interlude Gtr. 3: w/ Rhy. Fig. 1
μ[E]
A/E
E
E
A/E
E
EsusÊ
E
EsusÊ
Oo!
Gtr. 4 (acous.)
mf 2 2 0
4
2 2 2 0
0 1 2
Verse Gtr. 3: w/ Rhy. Fig. 1
E
A/E
E
EsusÊ
2. They print my mes - sage in the
E
A
E
A/E
Sat - ur - day Sun.
I
0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
2 2 2 0
2 2 2 0
E
EsusÊ
had to tell ’em
E
I ain’t
sec - ond to
none.
And I
Gtr. 3: w/ Rhy. Fig. 2
A
told
a - bout
e - qual
-
i - ty.
And it’s
E
A/E
E
true, eith - er you’re wrong or you’re right.
Oo,
da,
Rhy. Fig. 3
0 0 1 2 2 0
EsusÊ
ah,
E
B
but
if
you’re
think - in’ a - bout my
8 9 9 7
ba - by,
it
don’t
A
mat - ter
if you’re black
or
white.
End Rhy. Fig. 3
6 7 7 5
5
Interlude Gtr. 3: w/ Rhy. Fig. 1 (2 times)
A/E
E
EsusÊ
E
A
E
A/E
E
EsusÊ
E
Hoo!
Don’t
0 0 1 2 2 0
2 2 2 0
A/E
E
EsusÊ
E
Hee,
A
0 1 2 2 0
0 0 1 2 2 0
A
E
A/E
E
E
get bad!
E
EsusÊ
2 2 2 0
0 1 2 2 0
E
hee.
0 0 1 2 2 0
2 2 2 0
0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
Bridge Gtr. 4: w/ Rhy. Fig. 3 (1st meas.)
E
I am
tired
of this yell - in’,
when the go - in’ gets rough.
Gtr. 3
I am
E7
tired
of this stuff.
I ain’t
6
0
3 0
5 0
3 0 3
tired
of this bus - ’ness.
I
X 7 X 6
0
I am
scared of your broth - er.
Riff B
ain’t
scared of no
Go
A5
sheets.
End Riff B
7 6
2 2
0
0
3
0
5 0 3 0
3
2 2
2 2 2 2 2 2
Gtr. 3: w/ Riff B
E7
A5
I ain’t
scared
Em6
tec
-
no - bod - y.
Don’t
tion
Rhy. Fig. 4
Gtr. 5 (elec.)
of
put your fin - ger
for
gangs,
clubs and na
15 14
14 14 14
al
scale.
in
me.
Hey!
- tions,
Pro -
caus - in’ grief
in hum
-
15 14 12
15 14
an
re - la
-
tions. It’s
a
End Rhy. Fig. 4
mf w/ clean tone
15 14
Gtr. 5: w/ Rhy. Fig. 4 (2 times)
turf
war
on
not
space
Gtr. 5
a - bout
rac
-
a glob
es,
is.
I seen the bright
-
14 14 14
just
plac
14 14 14
14 14 14
15 14
12 12
X X
15 14
12
I’d rath - er hear
-
es,
fac
get
X X
dul - ler
I’m
-
es.
not
gon - na spend my life
sides of the
Where your blood
μ
14 14
14 14
14 14
12 12
both
14 14
tale.
See, it’s
comes
from is where your
12
15 14 12
15 14 12
be - in’ a
col - or.
3. Don’t
1/4
15 14 12
15 14
15 14 12
15 X 12
15
14 14
14 14
14 14
14 14
12 12
14 14
15 15
12 12 12
7
Verse Gtr. 3: w/ Rhy. Fig. 2 Gtr. 5 tacet
Gtr. 4: w/ Rhy. Fig. 3 (2 times)
tell
me you
a - gree
EsusÊ
when I
E
Da,
saw you kick - in’ dirt
in
my
B
with me
but
if
you’re
A
think - in’ a - bout
my
ba - by,
it
don’t
E
A/E
eye.
Hee,
A
mat - ter
A/E
E
EsusÊ
E
B
if you’re black
I
E
A/E
E
EsusÊ
said
B
Gtr. 4
0 0 1 2 2 0
if you’re black
6 7 7 5
8 9 9 7
or
white.
white.
mat - ter
if you’re black or
A
you’re think - in’ ’bout be - in’ my broth - er, it don’t
mat - ter
said
you’re think -in’ ’bout be - in’ my ba - by, it don’t
E
I
A
hee.
Gtr. 3: w/ Rhy. Fig. 2 (last 4 meas., 2 times)
E
E
or
white.
2 2 2 0
2 2 2 0
0 1 2 2 0
Outro Gtr. 3: w/ Rhy. Fig. 1 (4 3/4 times)
E
A/E
E
EsusÊ
E
A
E
A/E
Rhy. Fig. 5
0 0 1 2 2 0
8
right,
0 1 2 2 0
0 0 1 2 2 0
2 2 2 0
2 2 2 0
EsusÊ
All
E
all right, ah,
E
A
uh,
ah,
uh.
Oo,
E
hoo.
End Rhy. Fig. 5
2 2 2 0
0 1 2 2 0
1. w/ Voc. ad lib. (till end) Gtr. 4: w/ Rhy. Fig. 5 (3 3/4 times)
A/E
E
EsusÊ
E
A
E
Yeah, yeah,
A/E
E
E
A
E
Oo,
A
E
Oo,
black,
Gtr. 3
A/E
It’s
E
tough for you
EsusÊ
to beat that.
E
black,
B
E
4 4 4 2
0 0 1 2 2 0
4 4 4 2
0 0 1 2 2 0
it’s white.
It’s
A
to beat that.
E
yeah.
It’s
black,
E
it’s white.
A/E
It’s
Woo!
E
yeah.
tough for you
A/E
black,
it’s white.
Woo!
E
Yeah, yeah,
It’s
Gtr. 4
it’s white.
hoo.
A
hoo.
E
E
Yeah, yeah,
It’s
EsusÊ
EsusÊ
E
Oo,
hoo.
E
A
A/E
E
yeah.
2.
EsusÊ
EsusÊ
w/ bar
X X X
X X X
0 slack
9
from Slash - Slash
By the Sword Words and Music by Slash and Andrew Stockdale
Gtr. 2: Capo V
Intro Slow q = 71 μ
* C5
G/B
A5
G5
3
0
0
3
0
3
0 3
0
5
3
3
0 2
0
3
0
D5
0
3 2 0 0
0 0 3
3
0
Verse C5 A5
0
0 3
0
that
you ride
3
3
0
1/4
3
D5
and the
3
0
6
7
5
3 2 0 0
0 0 X 3
C5
G5
feel - ings left
in - side,
3
3
D/A
comes a
3
1/4
7
7 5
7
5
5
0
7
7
5 7
7
5
7 5
7
5
5
5
0
A5
D5/A
hors - es
0
3
G5
G5 3
3 3 1
3
C5
1/4
2 2 0
3
1/4
2 0
F5
1. With the
3
*Chord symbols reflect implied harmony.
A5
0
G5 D5/A
2 3
0 3
C5 3
3
D5
mf 1/4 P.M. 1/4 3
C
A5
G5
A5
Gtr. 1 (acous.) (Hi-hat)
3 2 4 0
© 2010 DIK HAYD MUSIC and UNIVERSAL MUSIC PUBLISHING PTY. LTD. All Rights for DIK HAYD MUSIC Administered by WB MUSIC CORP. All Rights for UNIVERSAL MUSIC PUBLISHING PTY. LTD. in the U.S. and Canada Controlled and Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC. All Rights Reserved Used by Permission
7
5
7
1
time you need
F/A
to leave
all
that
be
3
1 2 3 0
0
2
C5
G5
one could let
it
3
Well, they
7
5
G/B A5
7
-
2 0
2
5
7
5
7
7
7 5
7
C5
er ’round
for
the
0
1 2 3 0
to know
3
5
7
5
0
an - y -
3
F/A
3
4
5
A5
1/4
G5
G5
7
5
0
A5
3
5
7
C5
claim they’d like
3 2 4 0
7 5
7
5
hind.
peo - ple gath
7 5
And the
5
7
1/4
7
5
5 7
C
go.
3
-
3
D/A
7
5
1/4
D5
2 0
A5
3
4
G5
5
C5 A5
G5
C G/B A5
5 7
7
A5
G5
last
show.
5
7
3
3
5
5 7
7
7 5
7
5
Chorus
D * [A]
Well, there is
a
re - ward
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
0 2 2 2 0
0 2 2 2 0
0 2 2 2 0
0 2 2 2 0
Rhy. Fig. 1
Gtr. 1
Gtr. 2 (elec.)
mp
F [C]
to
die
live
0 0 0 0
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
0 2 2 2 0
0 2 2 2 0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
2 3 2 0 0
2 3 2 0 0
0 2 2 2 0
and
by
the
sword.
1 1 2 3 3 1
1 1 2 3 3 1
0 0 0 0
1 1 2 3 3 1
1 1 2 3 3 1
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
w/ clean tone let ring throughout
0 2 2 2 0
0 2 2 2 0
*Symbols in parentheses represent chord names respective to capoed guitar. Symbols above reflect actual sounding chords. Capoed fret is “0” in tab.
2
0 0 0
0 0 0
Am [Em]
Well, they try
to
com
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
G [D]
-
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
pli - cate
you,
End Rhy. Fig. 1
0 1 2 2 0
0 1 2 2 0
0 1 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
0 0 0 2 2 0
but you left
it
all
be - hind.
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
0 0 0 0
0 0 0
Gtr. 1: w/ Rhy. Fig. 1
D [A]
F [C]
All world
-
ly
pos - ses - sions
Gtr. 2
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
5 5 2 2 0
0 0 0
are left
for re - col - lec
1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
3 1 0 2 3
1 0 2 3
3 0 0
Am [Em]
-
tion
and fin - al - ly
0 0 2 2 0
0 0 2 2 0
0 0 2 2 0
0 0 2 2 0
3 0 0 2 2 0
it’s
all
0 0 0 2 2 0
3 0 0 2 2 0
3 0 0 2 2 0
3 0 0 2 2 0
3 0 0 2 2 0
0 0 0 2 2 0
Interlude Gtr. 2 tacet
G
C5
A5
G#
G5 A5
D5
C5
G5 D/F#
gone.
f
3
3
5 6 6 4
0
3
0
3
3
1/4
w/ dist.
4 5 5 3
3
*Gtrs. 3 (elec.) & 4 (elec.)
3
1/4
0
0
3 0 3
2 0
0 3
0
5
3
0
3 0 3
3 2 0 0 2
0 3
0
*Composite arrangement
3
C5
G/B
A5
G5
F
G5
A5
2. They’re re -
Gtr. 3
0 X 3
0 0 2
0 X 3
0 0 2
3
3
X X X
3
0
Gtr. 4
Verse C5
3
0
A5
leas - ing
all
1/4
0
3
G5
the
3
7
7
5
7
5
5
0
7 5
C5
lost
could
still
5
7
7
7
7
2 0
G5
D/A
be
5
When you
3
3 2 4 0
5
7
found.
3
7
5
5
mf
7
1/4
7
3
5
3
5 3
5 5 3
X X X
D5
What is
5 5 3
1 1 2 3 3 1
hounds.
X X X
A5
X X X
3 3 1
3
1 1 2 3 3 1
1 1 2 3 3 1
0
5
7
7
2 0
Gtr. 4 tacet
G/B
A5
hop
up
on
Gtr. 3
5
4
G5
your feet,
3 4
2
F/A
0
2
0
1 1 2 3 0
C5
A5
you’re
on
G5
3
A5
the
C5
ground. 3
7
7
1/4
5
7
5
7
5
5
7
5
Well, there’s
5
7
3
7
5
7
some
who
choose
7
5
7
3
5 0
5
0
-
7
5
7
ing
the
set - ting
sun.
7 7
7
Gtr. 4
1/4
5 5
7
5
now
it
seems
the
3
jour
5
4
2
0
2
ney
has
be
-
5
7
3
7
7
1/4
1 1 2 3 0
0
-
F/A
5
7
5
5
7
5
7
1 2 3 0
7 4 0
Chorus D
Well, there
is
a
re - ward
f
2 3 2 4 0
2 3 2 4 0
2 3 2 4 0
2 3 2 4 0
2 3 2 4 0
2 3 2 4 0
Rhy. Fig. 2
0 0 0
F
gun. Gtrs. 3&4
7
7 4 0
5
2 2 2 0
mf
3
3 2 4 0
5
7
And
3
D/A
7
fol - low
3
1/4
5 5
run,
Gtr. 3
to
A
1 1 2 3 3 1
to
live
and
die
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
by
the
sword.
1 1 2 3 3 1
1 1 2 3 3 1
0 0 0
5
Am
try
to
com
Well, they
5 5 7 7 5
5 5 7 7 5
5 5 7 7 5
5 5 7 7 5
5 5 7 7 5
-
G
pli - cate
you,
but
you
left
it
all
be - hind.
5 5 7 7 5
5 5 7 7 5
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
0 0
3 3 4 5 5 3
End Rhy. Fig. 2
3 3 4 5 5 3
3 3 4 5 5 3
Gtrs. 3 & 4: w/ Rhy. Fig. 2 (1st 2 meas.)
D
F
All
world
Am
-
tion
and
Gtrs. 3 & 4
5 5 7 7 5
5 5 7 7 5
5 5 7 7 5
4
6
5
ly
pos - ses
-
sions
are
left
for
re
G#
it’s
all
5 5 7 7 5
5 5 7 7 5
3 3 4 5 5 3
4 4 5 6 6 4
al - ly
5 5 7 7 5
5 5 7 7 5
0 0
D7
5 5 5 7 0
5 5 5 7 0
5 5 5 7 0
5 5 5 7 0
X X X X
X X X X
5 5 5 7 0
5 5 5 7 0
5 5 5 7 0
5 5 5 7 0
5 7 5 7 5
7 5 0
-
G
-
Rhy. Fig. 3
fin
Interlude Am
-
col - lec -
gone.
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
X X X X X
X X X X X
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
F
6 5 7
D7
F
G
Whoa.
6 5 7
5 6 5 7
5 6 5 7
5 6 5 7
5 6 5 7
X X X X
X X X X
5 6 5 7
5 6 5 7
5 6 5 7
5 6 5 7
End Rhy. Fig. 3
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
X X X X X
X X X X X
1 1 2 3
1 1 2 3
1 1 2 3
X X X X
X X X X
3 3 4 5
5 7 5 7 5
Gtrs. 3 & 4: w/ Rhy. Fig. 3
Am
D7
F
D7
Whoa.
F
Guitar Solo Am
G
F/A
*
Gtr. 5 (elec.)
3
3
mf
3
w/ dist. & wah-wah 1
5 7
Gtr. 3
5
1
7
7
4
5
3
5
5 7
7
1
7
1
7
1
7
7
5
7
*Played behind the beat.
Riff A
mp
let ring
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
5 7 5 7 5
X X X X
1 1 2 3
5 7 5 7 5
5 7 5 7 5
X X X X
1 1 2 3
3 3 4 5
2 2
1
2 2
1 2 0
2 2
2 2
1 0
2 3 0
2
5 7 5 7 5
0
2
5 7 5 7 5
1
5 7 5 7 5
2
Rhy. Fig. 4
Gtr. 4
3 3 4 5
mp 5 5 5 7 0
1
2 3
1 2 0
2 3
1 2 0
2 3
1
2 0
6 5 7 0
7
Am6
3
4
4
let ring
4 0
4
1 2
5
5
7
8
10
10
1 2
4 0
1/2
4
0
1 2
2 4
4 0
9
10
0
3 0
9
7
1 2
3
1 2
3
5
7
5
End Riff A
3 0
5
1
2 3
3 0
1 3 0
F/A
3
5
12
4
Am6
1/2
14
Gtr. 4
5 7 5 7 0
7
5
8
1 2
9
2
10
6 5 7 0
Am
9
1
Gtr. 3: w/ Riff A Gtr. 4: w/ Rhy. Fig. 4 (1st 2 meas.)
Gtr. 5
3
9
End Rhy. Fig. 4
5 7 5 7 0
Gtr. 5
1
5
F/A
10
13
13
1/2
14
10
12
1/2
14
1
12
1/2
12
12
14
13
13
1
13
13
1/2
12
1/2
12
1/2
1/2
12
12
F/A
17
6 5 7 0
13
12
13
12
8
12
8
7
8
7
8
7
10
9
8
10
f
6 5 7
6 5 7
6 5 7
6 5 7
6 5 7
0 0 0
Gtrs. 3 & 4: w/ Rhy. Fig. 2 (1 1/2 times)
D
8va
1
15
15
F
3
3
1/2
15
15
1
12
15
13
13
14
Am
3
1
15
8va
15
14
13
15
13
13
15 13
15
14
G
3
loco
3
3
grad. release 1
1 15
1/2
15
15
15
15
15
15
D 8va
1
15
8va
*
loco
15 13 15
15
13
12
13
12
19
14
12
14
3
17
12
14
F
1/2
15
13 12
1/2
19
1/2
19
19
17
19
0
17 17
13
12
13
14
15
16 15 13 15
13
3
1 1/2
17
20
20
20
17
17
*Played behind the beat.
Am
G
G#
3. Ho,
8va
Gtr. 5
1
17 20
22
5 5 7 7 5
17
20 17
1
19 17
1
20 19
19
5 5 7 7 5
5 5 7 7 5
5 5 7 7 5
5 5 7 7 5
19
1/2
19
5 5 7 7 5
5 5 7 7 5
4 5 5 3
0 0
with the
3
1/2
19
Gtrs. 3 & 4
17 19
19
5 6 6 4
3
7
5
7
9
Verse Gtr. 5 tacet
A5
-
es
that
hors
*Gtrs. 3 & 4
you ride 3
7
7
5
5 0
7
and
the
5
7
C
7 7
7
left
G5
feel - ings
3
7
0
D
5
1/4
5
3 2 4 0
5
7
comes a
3
7
in - side
5 5
D/F#
5 5
1/4
A5
G5
C
3
5
7
5
7
*Gtr. 4: w/ wah-wah
C5
G/B
A5
time
you
need
G5
F
to
all
that
5
4
2
leave
3
0
2
2
2
2
2
Well, there is
a
re
-
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
X X X X
wah-wah off
2 3 2 0
2 3 2 0
2 3 2 0
X X X X
X X X X
1 1 2 3 3 1
0
Well, they try
to
com
-
G
ward
0
2
0
pli - cate
7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
X X X X X X
X X X X X X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
X X X X X X
X X X X X X
3 3 4 5 5 3
2
to live and die
by
the
sword.
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
X X X X X X
X X X X X X
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
X X X X X X
X X X X X X
you,
but you left
it
all
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
X X X X X X
X X X X X X
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
3 3 4 5 5 3
hind.
A
10
-
F
be
2
Chorus D
P.M.
1 1 2 3 0
0
2
7 7 5
D
be - hind.
2 3 2 0
All
world
-
ly
pos
-
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
X X X X
X X X X
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
X X X X X X
tion
and
F
ses
X X X X X X
-
3 3 1
all
al - ly
it’s
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
X X X X X X
X X X X X X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
X X X X X X
X X X X X X
5 5 6 7 7 5
3 3 4 5 5 3
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
X X X X X X
X X X X X X
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
5 5 6 7 7 5
X X X X X X
X X X X X X
5 5 6 7 7 5
5 5 3
Outro C
A5
G5
A5
for
re
-
col - lec
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
X X X X X X
X X X X X X
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
1 1 2 3 3 1
X X X X X X
X X X X X X
G#
-
5 5 6 7 7 5
3
4 4 5 6 6 4
G
7
3
5 6 6 4
C
5
7
D
are left
gone.
Gtr. 4
Gtr. 3
A
G
-
sions
fin
0
D/F#
0
3
Whoa,
3
1/4
5 5
7
3
1/4
0
7
5
7
5
3
0
3
0
3
5
0
7
2 0
3
3
1/4
7
5
7
7 7
3
0
3
0
2 3 2 0
5 5
7
5
7
5
3
3
1/4
0
3
0
0 0 0 X 3
3 2 4 0
3 2 0 0 2
3
7
5
7
3
0
3
0
11
5
2
0
0
2
0
A5
3
0
G5
3
A5
D
C
G5
3
2 3
7
5
7 7
7
0
D
3
C
5
7
1/4
3
3 2 4 0
5
3
0
G D/F#
7
0
3
2 3 2 0
0
7
3
3
5 5
3
3 3 1
D
1/4
0
C G/B A5
G5 F5
oh.
3
3 1/4
7
7
5
7
5
5
0
7
3
1/4
3
12
3 3
1/4
0
0
3
0
3
2 0
7
5
7
7 7
5 5
7
0
3
0
2 3 2 0
3
5
7
5
3
3
5 5
3
1/4
0
3
0 0 0 X 0 3
3 2 4 0
3 2 0 0 2
7
5
7
5 5
3 4
2
0
2
0
3 3
0
3
0
1 0 X 3
0 X 2
0
7
3 2 0 0
0 0 X 3
5
3
3
0 X 2
C
F
1 0 X 3
G5
3
4
A5
G/B
C
3
0
3
3
3 3 1
3
0
from Guns N’ Roses - Use Your Illusion II
Civil War Words and Music by Slash, Duff McKagan and W. Axl Rose Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately slow q = 76
Spoken: What we’ve got here is... failure (10 sec.)
to communicate.
Some men
you just can’t reach G
Gtr. 1 Em (acous.) Riff A
mf
so you
let ring throughout
0
2
2
0 2
2
2
2 0
2
get what we had here last week,
2
0 2
2 0
2
0 3
0
0 2
which is the way he wants it.
Em
2
0
2
2
0 2
2
2
2 0
2
2
0 2
2 0
2
Well,
2
0
0 2
0 0
2
0
he gets it!
D/F#
0 3
N’ I don’t like it any more than you men.
2
0
0 2
0 0
Riff B
2
0 2
G
10
12
12
Whistled
3
G
Em
0
End Riff A
0
Gtr. 2 (elec.)
2
0
0
2
0
2
0
0
mf w/ clean tone
12
10
11
Gtr. 1
0
2
2
0 2
2
2
2 0
2
2
0 2
2 0
2
0 3
2
0
0 2
0
2
0 3
2
0
0 2
0 0
2
Copyright © 1990 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
0
1
Em
G
D/F#
Whistled
12
10
0
2
2
0 2
2
2
2 0
End Riff B
10
12
10
8
7
11
2
2
0 2
2 0
2
0 3
0
2
0
0
2
2
0
0
2
0
2
0
0
2
0
Verse Gtr. 1: w/ Riff A
Gtr. 2 tacet
Em
1. Look at your young
men
fight -
ing,
Fill 1
look at your wom
-
en
cry
-
ing.
End Fill 1
Gtr. 2
G
5
Em
Look at your young men
dy
-
G
ing,
the
D/F#
way
they’ve
al - ways
done
be - fore.
Interlude Gtr. 1: w/ Riff A Gtr. 2: w/ Riff B
Em
G
*Gtr. 3 (acous.)
let ring
mp let ring
5
4
*Doubled throughout
2
5
0 4
5
4
5 5
4
5
0 4
5
4
0 5
4
0
3 5
3
3 5
5
4
3 5
4
0
3
0
Em
G
let ring
5
4
5
0 4
5 5
4
4
5
7
D/F#
string noise
0
X X
5
let ring
let ring
5
0
3
4
3
3
5
5
4
0
0
3
3
0
4
4
2
Verse Gtr. 1: w/ Riff A Gtr. 2: w/ Fill 1
Gtr. 3 tacet
Em
G
2. Look at the hate we’re breed - ing,
look at the fear
we’re feed - ing.
Look at the lives we’re lead - ing,
let ring
Em
the
2
G
D/F#
A5
A5#11
My hands
way we’ve al -ways done be - fore.
Gtr. 2
let ring
2 2 0
Gtr. 4 (elec.)
2
5 2
2
5
let ring
let ring
0
0 4 0
4
2
4
4 4
2
5
2
Rhy. Fill 1
mf
3
5
0
let ring
0 4
5
0
4
2
3
are tied,
3
2
3
5
End Rhy. Fill 1
w/ slight dist.
4 2 2 0
2 2 0
Rhy. Fill 1A
f
End Rhy. Fill 1A
Gtr. 5 (elec.)
5 2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
w/ dist.
2 2 0
2 2 0
3
Bridge Gtr. 2 tacet
E5
G5
the For
Rhy. Fig. 1
Gtr. 4
let ring
0 0 2 0
Gtr. 5
P.M.
2 2 0
0
E5
wars wars
bil - lions all I’ve
shift seen
from side has changed
go go
0
on on
0 0 X 3
0
0
0
with brain - washed go as the years
pride by
2 0
2 2 0
P.M. 2 2 0
0
0
2 2 0
0
0
2 2 0
and the but still the
3
0 0
love of love of
God God
2
5 X 3
4 X 2
D
G5 F#5
and our hu - man or hu - man
rights. rights.
And ’Cause
0 0
3 3 0 0 X 3
2 3 2 0
2 3 2 0
1/2
P.M. 2 2 0
0 0
G5
for the with no
2 0
side, mind,
F#5
1/4
0 0
2 2 0
to my
3 3 0 0 X 3
2 2 0
2 2 0
P.M.
let ring
4
Rhy. Fig. 1A
0
2 2 0
0 0
2
2
0 0 X 3
0 0 X 3
2 3 2 0 0
2 3 2 0
0
3
2
E5
all all
things dreams
are are
swept swept
these these
a - side a - side
by by
G5
0 0 2 0
2 2 0
2 2 0
0
0
0
0
2 2 0
2 2 0
0 0
3
8va
washed a - way car - ry the cross
by your gen - o of hom - i
-
cide. cide.
And And
let ring
0 0 2 0
2 2 0
P.M. 2 2 0
0
0
2 2 0
0 0
0 0 X 3
5 5
5 5
0 0
3 3 0 0 X 3
P.M. 2 2 0
0
0
2 2 0
2 2 0
0 0
-
t’ry t’ry
hides bears
loco
5 5
D
of our of our
civ - il civ - il
wars. wars.
the the
lies scars
2 3 2 0
0 0 X 3
0 0 X 3
4 2
-1/2
2
2
5 3
his his
Harm. bend neck
G5
and are who
Pitches: B G
E5
de - ny no - tized
1/2
P.M. 2 2 0
2 2 0
0 0
3 3 0 0 X 3
time can’t of the hyp -
P.M.
hands hands
blood - y blood - y
let ring
F#5
End Rhy. Fig. 1
0
End Rhy. Fig. 1A
2 3 2 0 0
5
To Coda
A5
B5/A
C5/A
D5/A
E5/A
P.M.
2 2 0
0
0
P.M.
2 2
0
0
4 4
2 2 0
0 0
2 2 0
7
P.M. P.M. P.M. P.M.
0 0 0
0 0 0
0 0 0
2 2 0
4 4
0
4 4
0
0
5 5
0
0
5 5
0
0
7 7
0
7 7
7 7
7 7
0
9 9
9 9
Guitar Solo Gtrs. 4 & 5: w/ Rhy. Figs. 1 & 1A
E5
G5
f
F#5
Gtr. 6 (elec.)
steady gliss.
*w/ wah-wah 1
1
0 2
0
0 3
* = pedal open (toe up);
G5
1
0
3 3
0
0
0 3
0
3 3
0
2
= pedal closed (toe down)
D
G5 F#5
E5
6
8
7
8
7
4
2
0
7
7
7
7
7
0
0
1
0 3
0
0
3 3
0
0
0
3
0
E5
2
1
0 9
1
0
1
8 7
1
0
1
0 3
0
3 3
0
0
0 3
0
0
G5
F#5
E5
G5
D
D’you wear a
3
3
0
6 5
7 6
8 7
10 9
10 9
10 9
15
1
1
0
15
2
0
1
0
0
3
0
3 3
0
0
0
3
8 7
0
7 7
Bridge Gtrs. 5 & 6 tacet
G
Bmb6
black arm
-
band
the
when they shot
Gtr. 6
Em
man
who said,
“Peace could last
for - ev
-
And in my
er”?
*
8 7
*Vol. swell
**Gtrs. 1 & 4
let ring
0 3
3 0
0
let ring
0 2
4
0
3 4
0
0
let ring
4
2 0
2 0
2
2
2
0
0 2
0 0
2
0
**Composite arrangement
Gtr. 5
3 0 0 X 3
7
G
first
mem - o - ries
they shot
0
3 0
0
0 2
3
nev - er
fell
for
0
0
3 0
2
0
-
numb
when I
learned
0
4
let ring
0
3
3 0
2
2
wall of
we got the
4
0
2
0 2
0
2
2
see.
So
D.
C.
to
0 4
3
0 0 0
0
let ring
0 0 2
4
1
let ring
0
all
that you
0 2
2
0
when
ev - ’ry - bod - y’s fight - in’ for their prom - ised
land,
0 4
2 0
0 0
0
0 1 0 2 3
0 1 0 2 3
5 5 5 3
0
D
3
C
0
us
0
Em
0
3
re - mind
0
3
I
*Gtr. 7 (elec.) w/ clean tone, played mp; Composite arrangement
5 5 5 3
8
to
2
4
free - dom when it’s not in your hands,
let ring let ring
nam,
trust
0
went
3
3
I
Em
0
let ring
Gtr. 5
0
Vi - et
3
4
Bmb6
Gtrs. 1, 4 & 7
and
can’t
0
Bmb6
3
4
let ring
let ring
G
Dsus2
G
Ken - ne - dy
let ring
let ring
C
*Gtrs. 1, 4 & 7
Gtrs. 1 & 4
Em
Bmb6
0
2
and...
2 3 2 0
2 3 2 0
0
7 7 7 5
7 7 7 5
0 0
Chorus Gtrs. 1 & 7 tacet
G5
I don’t
need
civ - il
Rhy. Fig. 2
5 5 3
Gtr. 5
3
0
Rhy. Fig. 2A
0 0 X 3
G5
5 5 3
0 0 X 3
4 4 2
4 4 2
feeds
the
rich
3
2
2 2 0
0
bur - ies the
2
P.M.
2 2 0
2 2 0
0
0
P.M. 2 2 0
2 2 0
0
2 2 0
0
C
0
2 0
2 2
D
poor.
End Rhy. Fig. 2
4 4 2
4 4 2
E5
while it
4 4 2
0
war.
4 4 2
B5
It
your
E5
Gtr. 4
B5
4 4 2
4 4 2
2
2 2 0
0
5 5 3
7 7 5
5 5 3
7 7 5
End Rhy. Fig. 2A
2 2 0
2 2 0
P.M.
X X
5 5 5 3
5 5 5 3
5
5
7 7 7 5
7 7 7 5
0 0
9
Gtrs. 4 & 5: w/ Rhy. Figs. 2 & 2A
G5
B5
You’re pow - er - hun
G5
-
gry, sell - in’
sol - diers
I
need
civ - il
B5
don’t
your
Guitar Solo G5
E5
in
a
3
hu - man gro - c’ry
E5
store.
war.
C
Oo,
B5
Ain’t that fresh!
D
no,
no,
no,
no,
E5
no.
Gtr. 6
3 *w/ wah-wah 1 hold bend
10 10
8
10
10
10
1
8
10
10
10
8
steady gliss.
10
9
15
*Used as filter.
Gtr. 4
5 5 3
3
Gtr. 5
10
0 0 X 3
0 0 X 3
0
4 4 2
4 4 2
4 4 2
2
2 2 0
0
2
P.M.
2 2 0
2 2 0
0
0
2 2 0
0
P.M. 2 2 0
0
0
2 2 0
2 0
2 2
G5
B5
E5
C
3 1
7
7
7
5 5 3
5 5 3
8
7
5
7
7
9
4 4 2
0
3
G5
7
5 5 3
5
7
4 4 2
4 4 2
7
7
7
5 5 3
0 0 X 3
0 0 X 3
9
7
5
7
5
7
5
4
2
7
9 9 7
5 5 3
5 5 3
5 5 3
7 7 5
7 7 5
2 2 0
2 2 0
E5
5 5 5 3
7 7 7 5
0 0
8
8
5
7
5
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
7 7 5
1
7
5
4
7
8
7
5
let ring
5 5 3
7
8
9
5 8
9
1/2
5
7
B5
7
1 8
9
2
5
D
7
8
7
5
8
7
8
5
2 2 0
2 2 0
7
2 0
0 0 2 2 0
2 2 0
2 2 0
P.M.
2 2 0
2 2 0
2 2 0
0
0
P.M. 2 2 0
0
0
2 2 0
2 0
2 2
11
Verse Gtrs. 1 & 7: w/ Riff A (2 times)
G5
B5
E5
C
D
Em
3. Look at the shoes you’re fill - ing,
3
3 grad. bend 1 hold bend
10
1
10 10
10 8 10 12
10
10
1/2
12
15
15 12 14
5 5 3
5 5 3
0 0 X 3
0 0 X 3
0 0 X 3
4 4 2
4 4 2
4 4 2
4 4 2
2 2 0
Look in
Gtr. 2
12
the
doubt
we’ve
Look at the world we’re kill -
wal
-
12
10
12
12 10
12 10
12
5 5 3
7 7 5
5 5 5 3
7 7 7 5
9 X 7
2 2 0
Em
look at the blood we’re spill - ing.
14 12 10 12 10
G
Em
12
4 4 2
1
9 9 7
4 4 2
14 14
3
Gtrs. 4, 5 & 6 tacet
14 12
ing,
G
the
D/F#
way we’ve al - ways done be - fore.
G
lowed,
look
10
12
11
at
the lead
-
ers we’ve fol
-
lowed.
Em
Look
at
the
lies
we’ve
swal
-
12
10
G
D/F#
I
don’t
want
10
12
10
lowed
and
11
to
no
hear
more.
D.S. al Coda Gtrs. 4 & 5: w/ Rhy. Fills 1 & 1A
A5
A5#11
My
let ring
2 2 0
5
2
2
2
let ring
0
0 4
5
2
4
0
4
4
2
4
let ring
3 5
2
0
5
hands
are tied
let ring
0 4
5
4
0
3
2
3
2
3
5
Coda Guitar Solo Gtrs. 4 & 5: w/ Rhy. Figs. 1 & 1A
E5
G5
Gtr. 6
w/ wah-wah 1
1
0
0
2
1
0
0
3
0
3 3
E5
0
0
0
3
G5
F#5
3 3
0
1
3
0
3
0
2
3
2
1
0
0 0
0 0
0
3
3
0
2
D
2
G5 F#5 E5
steady gliss. 1
1
0 2
0
1
0 3
0
3 3
0
0
1
0 3
0
0
8 7
7
8
7
9
7
7
1
0 2
0
1
0 3
0
3 3
0
0
0 3
0
0
13
G5
F#5
E5
let ring 1
3
3
2
2
1
1
0 2
2
0
2
1
0
3 3
0
3
0
0
0
0
3
0
Interlude Double-time feel Spoken: We practice selective annihilation of mayors and government officals.
G5
D
let ring
Gtr. 6
8 7
7 7
8
A5
7 7
8 7
B/A
10 9
Gtrs. 4 & 5
C5/A
P.M.
2 2 0
0
0
0
0
P.M.
4 4 4
0
0
0
0
0
0
0
5 5
End double-time feel For example, to create a vacuum. Then we fill that vacuum,
as popular war advances. Peace is closer.
D5/A
Gtr. 6 tacet
F5/A
C5/A
10 9
P.M.
5 5
14
0
0
0
0
0
0
P.M.
7 7
0
0
0
P.M.
7 7
0
0
P.M.
10 10
0
0
0
P.M.
10 10
0
0
P.M.
5 5
0
0
0
5 5
5 5
5 5
Chorus Gtrs. 4 & 5: w/ Rhy. Figs. 2 & 2A (1 1/2 times)
G5
G5
I
don’t
feeds
the
rich
5 5 3
Gtr. 5
0 0 X 3
E5
civ - il
it
bur - ies
the
gry, sell - in’
sol - diers
in
B5
I don’t (I don’t
need need
civ - il civ - il
your your
3
4 4 2
4 4 2
4 4 2
4 4 2
D
a
3
hu - man gro - c’ry
store.
E5
0
C
E5
-
E5
poor.
B5
war.
while
Ain’t that fresh!
C
D
no, no, no, no, no, no, no, no, no,
no, no,
Gtr. 4
your
G5
need
You’re pow - er - hun
B5
It
G5
B5
war, war.)
2
2 2 0
2 2 0
5 5 3
5 5 3
7 7 5
7 7 5
*P.M.
5 5 5 3
5 5 5 3
0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
P.M.
7 7 7 5
7 7 7 5
7 7 7 5
0
*Gradually lift P.M.
15
Double-time feel *G5
no.
Bm
I don’t
need
your
Rhy. Fig. 3
E5
civ - il
let ring
3
5 5 3
3
5 5 3
2 3 4 4
2
war.
2 2 0
2 2 0
let ring
0 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
0 0
Rhy. Fig. 3A
P.M.
5 3
7 3
3
P.M.
5 3
7 3
P.M.
4 2
0
4 2
5 2
P.M.
4 2
2
5 2
2
P.M.
2 0
2 0
3 0
P.M.
2 0
0
3 0
P.M.
2 0
0
P.M.
2 0
0
3 0
0
P.M.
2 0
3 0
0
0
*Chord symbols reflect basic harmony.
G
Bm
I don’t
need
civ - il
your
3 3 0
0
D
End Rhy. Fig. 3
let ring
2 3 4 4
2
C
war!
let ring
0 2 3
E5
0 0
2
let ring
0 0
2 0
2 0
0 0
5 5 3
2 0
5 5 3
7 7 5
7 7 5
0
End Rhy. Fig. 3A
P.M.
5 3
16
7 3
3
P.M.
5 3
7 3
0
P.M.
4 2
4 2
5 2
2
P.M.
4 2
5 2
2
2 0
P.M.
2 0
3 0
0
P.M.
2 0
3 0
0
P.M.
2 0
0
P.M.
5 5 5 3
5 5 5 3
7 7 7 5
7 7 7 5
0
Gtrs. 4 & 5: w/ Rhy. Figs. 3 & 3A
G5
Bm
You’re pow - er
G
-
I (I
hun
-
gry, sell - in’
sol - diers
Bm
E5
don’t don’t
in
a
3
hu - man gro - c’ry
store.
E5
need need
civ - il civ - il
your your
Ain’t that fresh!
C
D
war, war.)
no,
no,
no,
no,
no,
no,
no,
no,
ah,
no,
ah,
Guitar Solo Gtr. 4: w/ Rhy. Fig. 3 (2 times) Gtr. 5: w/ Rhy. Fig. 3A (2 times)
G5
I
don’t
no.
E5
need
one
more
war,
Gtr. 6
Bm
7 *w/ wah-wah 1
1
12
14
15
14
12
15
14
12
15
14
12
15
1
12
14
15
14
12
15
12
14
15
14
12
15
14
12
*Used as filter.
oh,
1
15
14
12
15
14
1
12
1
12
15 14
15
1
12 14
14
1
14
12
15
12
14
12
15
12
14
12
15
1 15
17
G
Bm
E5
whoa.
3 1
12
15
15
15
15
15
15
13
12
15
15
12
15
13
12
12
14
13
12
15
15
14
15
14
12
14
15
14
12
14
C
1
G5
14
D
12
19
1
15
Bm
14
12
14
15
12
14
12
15
12
15
15
E5
Oo,
8va
3
6 1 20
17
18
loco
20
19
20
19 20 19 17 19
1/2
17 19
1 1/2
19
17 17
17
3
1
17 15
16
17 15
1
12
15 12
14
14 12
14
Bm
I don’t
8va
need
one
more
17
15
17
17
15
15
war,
no, no,
1
17
1/4
1
17
17 15
17
15
End double-time feel D
C
1 17
E5
G
15
17
loco
no,
no,
rit.
ah,
ah,
17
no,
rit. 1
15 17 15
12 15
15
12
14
12
14
14
Outro Slower q = 68 Gtr. 6 tacet
G5
no.
Gtr. 6
12
Gtr. 8 (elec.)
mp
*w/ slight dist. & wah-wah
7 X 5
9
7
7
5
9 X 7
9 X 7
7 X 5
9
7
5
7
5
3
0
7 X 5
9 7
9 X 7
7 X 5
9
7
5
7
5
3
*Wah-wah used as filter.
**Gtrs. 4 & 5
0 0 X 3 **Composite arrangement
19
Gtrs. 4 & 5 tacet
μ
Spoken: What’s so
Gtr. 8
7 X 5
5 X 3
9
7
7
5
9 X 7
9 X 7
7 X 5
9
7
5
7
5
3
7 X 5
0
civ - il ’bout war
an - y - way?
9
7 X 5
7
3
9
7
5
7
5
3
Whistled
7 X 5
5 X 3
9
7
7
5
9 X 7
9 X 7
7 X 5
9
7
5
7
5
3
5 X 3
20
9
7 X 5
7
9
7
5
7
5
3
Begin fade
7 X 5
7 X 5
0
Fade out
Whistled
9
7
7
5
9 X 7
9 X 7
7 X 5
9
7
5
7
5
3
0
7 X 5
9 7
7 X 5
5 X 3
9
7
5
7
5
3
7 X 5
9
7
7
5
9 X 7
from Velvet Revolver - Contraband
Dirty Little Thing Words and Music by Scott Weiland, Duff McKagan, Matt Sorum, Keith Nelson, Slash, Peter Franklin and Antony Newton F#5
E5
13
1
Intro Moderately fast q = 168
*E5
Gtr. 1 (dist.) (Bass)
G5
A
Bb
Rhy. Fig. 1
mf
5 5 3
0
6 7 7 5
0
7 8 8 6
0
*Chord symbols reflect implied harmony.
Gtr. 1: w/ Rhy. Fig. 1
A5
G
A
G
E5 G5
A
Bb
A5
G
A
G
End Rhy. Fig. 1 Gtr. 2 (dist.)
8v a
7 8 8 6
7 7 5
0
0
** p
mf fdbk.
fdbk.
9
4 5 5 3
6 7 7 5
4 5 5 3
loco
9 Pitch: E **Vol. swell
E5 G5
A
Bb
A5
G
A
G
E5 G5
A
Bb
A5
E[b5]
Rhy. Fig. 2A
End Rhy. Fig. 2A 3
Gtr. 2
5 3
7 5
8 6
f
0
Gtr. 1
0
0
0
7 5
0
5 3
7 5
5 3
5 3
7 5
8 6
0
0
0
9 8 7
9 8 7
0
7 5
0
9 8 7
Rhy. Fig. 2
f
0
5 3
End Rhy. Fig. 2
0
7 5
0
8 6
0
7 5
0
5 3
7 5
5 3
0
5 3
0
7 5
0
8 6
3
P.M. 0
7 5
0
2 0
2 0
Copyright © 2004 Chrysalis Music, Ready Set Go Publishing, Pimp Music, DracSorum Music, Sony/ATV Harmony, Lick The Star Music, Slash And Cash Publishing and Sanctuary Music Publishing Ltd. All Rights for Ready Set Go Publishing, Pimp Music and DracSorum Music Administered by Chrysalis Music Group, Inc., a BMG Chrysalis company All Rights for Sony/ATV Harmony and Lick The Star Music Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 All Rights for Slash And Cash Publishing Administered by WB Music Corp. All Rights for Sanctuary Music Publishing Ltd. in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. All Rights Reserved Used by Permission
2 0
1
Verse 1st time, Gtr. 1: w/ Rhy. Fig. 1 (4 times) 2nd time, Gtr. 1: w/ Rhy. Fill 1 (4 times)
E5 G5
1. Can’t 2. Can’t
A
Bb
stop stop
A5
G
think - in’, drink - in’,
must I’m
a
A
G
E5 G5
been cold,
A
trip - pin’ this eve kick - in’ and bleed
-
Bb
A5
G
A
My The End Rhy. Fig. 3
5 3
0
nin’. in’.
Rhy. Fig. 3
Gtr. 2
G
7 5
0
0
8 6
7 5
0
5 3
0
7 5
5 3
5 3
0
7 5
0
0
8 6
0
A
Bb
7 5
5 3
0
7 5
5 3
Gtr. 2: w/ Rhy. Fig. 3
E5
G5
A
Bb
mind wine
is is
rac - in’ numb - in’
de - mons, all feel - in’s and all
of of
A
my my
A5
G
Half-time feel
A5
feel - in’s mem - ’ries
2
4
*Gtrs. 1 & 2
1
Rhy. Fig. 4
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
X X X
7 7 5
7 7 5
4
4
X X X
roll
with my
Asus4
X X X
X X X
X X X
X X X
6
6
4
2
0
0
0
3
5
6
in
the End Riff A
1
1
3
3
5
5
5
7
End Rhy. Fig. 4
7 6 5
7 5 5
7 6 5
7 6 5
7 6 5
7 6 5
7 6 5
7 6 5
Rhy. Fill 1 Gtr. 1
head
*Composite arrangement
1
6
X X X
G A G
4
2
1
4
A5
numb. gone.
A[#4]
Riff A
1
are are
when I
Gtr. 3 (dist.)
E5 G5
Yeah,
f
G
0
5
0
3
5
3
1/2 P.M. 7 5 5
4
5
5
4
End half-time feel Gtrs. 1 & 2: w/ Rhy. Fig. 4 Gtr. 3: w/ Riff A
A5
wind
and
I
feel
like
a
A[#4]
Asus4
of
the...
king
Gtr. 1: w/ Rhy. Fig. 1 (4 times) Gtr. 2: w/ Rhy. Fig. 3 (2 times) 2nd time, Gtr. 3: w/ Fill 1
E5 G5
A
Dead
E5
men
Bb
they
had
A
Bb
lit - tle
Pre-Chorus
with
head
in
the
Gtr. 1
li - ar
C5
5 5 3
Gtr. 2
5 5 3
G
E5
got - ten to - geth - er
with
G
you,
girl.
G
E5
A
a
mes - sage
clouds
of
ob - ses - sion
and
your
5 3 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5
5 3 3
to
5 5 3
5 5 3
5 5 3
5 5 3
3
2
1
Bb
A5
world’s
up
G
G5
A
Bb
-
side
You
got
your
down.
7 7 5
7 7 5
7 7 5
1/2
1
5
7 7
7 7
2 0
5 2 2 0
5 2 2 0
0
G A G
7 7 5
2 0
G
A5
7 7 5
7 7 5
A
But you’re a
come.
A
A5
7 7 5
5
G5
let ring let ring
5 5 3
A
A5
dirt - y
G
wish - in’
G5
A5
5 2 2 0
5 5 2
2 2
5 5
7 7 0 0
2
2
Fill 1
Gtr. 3
2424 2424 2424 2222 2020 1717 1212
Play 7 times
8v a
mp
*T
2424
24 24
24 24
24 24
24 24
24 24
24 24
24 24
*Tap w/ edge of pick.
3
Chorus Half-time feel E
C5add#11
Get
a - way
Rhy. Fig. 5
0 0 1 2 2 0
7
P.M. 7
7
E5
2 2 0
7
7
C5add#11
a - way
0
5 5 3 3
7
0
7
5 5 3 3
5 3 3
5 3 3
from
the
man
7
7
7
7
steal - ing
your
5 5 3 3
5 5 3 3
5 5 3
5 5 3
4
Get
a
C5add#11
-
way
3 2 0 0
7
Bb
A
life.
P.M.
3 3 1
0
11 10 10 8
3 2 0 0
0
P.M.
0
P.M.
2 2 0
0 0 X 3
2 2 2 0
0
from
the
drugs
you’re
E5
tak
-
ing.
D5/A
P.M.
3 3 3
Gtrs. 1 & 2: w/ Rhy. Figs. 5 & 5A
E5
7 7 5 5
7
End Rhy. Fig. 5A
11 10 10 8
7
let ring P.M.
End Rhy. Fig. 5
3 2 0 0
2 0
that’s
G5
ing.
2 0
-
7
P.M. 7
liv
Get
you’re
11 10 10 8
7
life
D5/A
7
the
5 3 3
2 2 0
7
from
Rhy. Fig. 5A
E5
1.
T o Coda
E5
Get
a - way
from
the
G5
film
of
sex
in
your
End Rhy. Fig. 6
P.M.
3 3 3 1
0
Rhy. Fig. 6A Gtr. 2
3 3 0 0 X 3
life.
Rhy. Fig. 6 Gtr. 1
End half-time feel F
Bb
C5add#11
P.M.
0 0 X 3
3 1
P.M.
0
1 2 3 3 1
3 3 3
3 3 3 1
0
End Rhy. Fig. 6A
Interlude Gtr. 1: w/ Rhy. Fig. 1 (2 times) Gtr. 2: w/ Rhy. Fig. 3
E5
G5
A
Bb
A5
G
A
G
E5
G5
A
Bb
Gtrs. 1 & 2: w/ Rhy. Figs. 2 & 2A
A5
G
A
G
E5
G5
A
Bb
A5
G
A
G
2.
End half-time feel Gtrs. 1 & 2: w/ Rhy. Figs. 6 & 6A
E5 G5
A
Bb
A5
E(b5)
G5
sex
in
your
Gtr. 3
Bb
F
life.
15
5
Guitar Solo
F#5 Gtr. 2
Gtr. 3
3
4
2
3
4
2
3
2
4
4
2
4 2
4 2
4 2
4 2
P.M.
2
4
3
4
2
3
let ring let ring 1 2 2
2 5
2
4
2 2
2 5
2
4
2 2
2 5
3
4 2
4 2
4 2
4 2
4 2
4 2
P.M.
6
2
2
4
3
4
2
2
2
4
3
4 2
4 2
4 2
4 2
4 2
4 2
4 2
2 2
4
5
2
2
4
4
4
4
4
2
2 2
2 2
4 2
2
3
1
5
4
5
2
4
4 2
P.M.
6
3
4 2
3
Gtr. 1
P.M.
2
4
4
6
4 2
4 2
4 2
2
2
4
1
5
6
7
7
9
9
10
10
11
4 2
4 2
4 2
4 2
4 2
4 2
11
12
12
14
4 2
14
14
14
16
16
17
17
14
16
17
12 17
4 2
4 2
4 2
4 2
4 2
4 2
*
3
P.M.
5
3
14
17
1/4
14
14
17
16
17
16
14
16
14
16
14
16
14
16
16
16
14
16
14
16
16
*Played behind the beat.
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 2
Gtr. 1: w/ Rhy. Fig. 3 (2 times)
E5 Gtr. 2
14
Gtr. 3 3
14
16
14
14
16
P.M.
15
14
12
14
12
12
15
15
14
15
14
12
14
12
15
12
15
14
15
14
12
3
11
14
P.M.
12
14
11 12 11
14
3
11
9
10
9
10
9
7
10
1
12 12 14
12 12
14
12
11 12 11
14
9
10
9
7
9
11
12
9
7
3
3
3
7
1
12 12 14
11
9
3 1
12 14 12
3
7
14
P.M.
3
3
12 12
12 12 14
15 15
14 14
12 12
14 14
12
15
12 12
15 X 15
12
15 15
14 14
12 12
7
P.M.
12 12
14 14
12 12
14 14
14 14
14 14
12
14
14
Coda
sex
in
your
Gtr. 3
F
1
8
get
a
15
got
your
15
15
1
12
-
P.M.
7
7
7
7
7
P.M.
7
7
7
1
1
7
12
14
12
17
15
17
15
(’Way,
1
1
14
12
14
17
15
17
5 5
7
C5
get
a - way.
1
1
14
15
17
7
7
5 5
1
12
17
P.M. 7
’way.)
14
7
1
14
7 7 5 5
way,
Gtr. 2
way,
-
15
1
15
a
E5
1
15
’way,
7
C5
D5/A
12
12
Get
E5
14 14
life.
12 12
1
E
15
14 14
Gtr. 1: w/ Rhy. Fig. 5
Bb
D.S. al Coda
Outro
Gtrs. 1 & 2: w/ Rhy. Figs. 6 & 6A
G5
1/2
1/2
14 14
You
1.
Gtr. 3
2.
G5
Bb
G5
Gtrs. 1 & 2: w/ Rhy. Figs. 6 & 6A
A
3
3
3
1
12
12
12
12
12
12
12
12
14
14
14
14
14
14
14
14
Gtrs. 1 & 2
P.M.
3 3 0 0 X 3
0
P.M.
3 3 3 1
0
14
Bb
F5
1
12 14
14
14
2 2 2 0
Free time E
Gtr. 3
fdbk.
14
Gtr. 1
14
14
0 0 1 2 2 0
Gtr. 2
*grad. dive
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1 2 2 0
0 2 0
0 *Lower pitch w/ tuning peg.
-2 -4
9
from Velvet Revolver - Contraband
Fall to Pieces Words and Music by Scott Weiland, Duff McKagan, Matt Sorum, Dave Kushner and Slash A
G5
D
Cadd9/D 5fr
111
2
34
1333
C
G
Dsus4
5fr 1111
Em 5fr
1333
134211
1334
12
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately slow q = 67 *D
C
G
C End Rhy. Fig. 1
Rhy. Fig. 1
Gtr. 1 (clean)
mf
3 3 2 0
2
3
w/ reverb let ring throughout
2
0
3 3 2 0
4
2
3
0 2
0
4
0
0 2
D
3 3 2 0
2
3
2
0
4
2
Gtr. 2 (dist.)
** ***w/ delay
10
1
0
3
3 3 0 0
0
2
3 0
0 2
3 0 0 2
3
0 2 3
*Chord symbols reflect overall harmony.
Gtr. 1
3 3 2 0
0
mp
3
2
0
4
0
0
0 2
G
1 1 0
0
1
0
2
3 3 0 0
0
C
3
C
3 0 0 2
0 2 3
3 0 2
3
8
10
10
**Vol. swell ***Set for eighth-note regeneration w/ multiple repeats.
Verse Gtr. 1: w/ Rhy. Fig. 1 (3 times)
D
1. It’s been a
long
C
G
year
since you’ve
8
D
been
C
gone.
10
I’ve been a - lone
here,
10
Copyright © 2004 Chrysalis Music, Ready Set Go Publishing, Pimp Music, DracSorum Music, DTK Music and Slash And Cash Publishing All Rights for Ready Set Go Publishing, Pimp Music, DracSorum Music and DTK Music Administered by Chrysalis Music Group, Inc., a BMG Chrysalis company All Rights for Slash And Cash Publishing Administered by WB Music Corp. All Rights Reserved Used by Permission
1
C
G
C
I’ve grown
D
old.
10
Fall
to
C
G
piec - es,
I’m
fall
-
3
10
in’.
C
3
3
Pre-Chorus
D
Fell to
Rhy. Fig. 2
3 3 2 0
Gtr. 1
3 2 3 3 2 2 0 0 4
3
and I’m
0
2 0
4 0
0
0 2
1
G5
0
D
fall
2 3 2 0 3
3 0 0 X 3
3 0 0 X 3
down.
2 3 2 0
2 3 2 0
2
3 0 0 0
8
f
2 2 2 0
2 2 2 0
Gtr. 3 (dist.)
10
All a - lone
I
2 2 2 0
2 2 2 0
f 3 2
3
2
2
3 2
0
fall
4
3 2 0
3 0 0 X 3
2
2
0
4
0
0
0 2
3 0 0 X 3
2
2
2 0
4
to
2
3
G5
1
2 3 2 0
2
10
I’m
Rhy. Fig. 3 Gtr. 4 (dist.)
A
1
2
in’
2 3 2 0
3 0 0 X 3
3 0 0 X 3
-
G5
Ev -’ry time,
fall - in’.
8
still
A
End Rhy. Fig. 2
3
Gtrs. 1 & 2 tacet
G
piec - es,
2
Gtr. 2
C
A
4
0
-
0 2
G5
piec
0
es.
1
2 2 2 0
2 2 2 0
End Rhy. Fig. 3
2 2 2 0
2 2 2 0
3 0 0 X 3
3 0 0 X 3
3 0 0 X 3
2 2 2 0
3
Interlude D
G5
End Riff A
Riff A
Gtr. 5 (dist.)
f
C
1/2
15
14
14
14
15
Rhy. Fig. 4
Gtr. 3
7 7 7 5
14
17
15
16
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
13 14
17
16
13
12
15
17
7 7 7 5
7 7 7
14
5 5 5 3
5 5 5 3
5 5 5 3
3 0 0 X 3
3 0 0
2
3 2 0
3 2 0
3 2 0
3 0 0
0
3 2 0
2
D
3 2 0
3 2 0
0
3 0 0
3 2 0
2
2
3 3 0 0 X 3
1 0 2 3
1 0 2 3
1 0 2 3
0
3 3 0 0 X 3
14
14
14
15
Rhy. Fig. 5
7 7 7 5
14
17
15
16
C
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
13 14
17
16
7 7 7
2
3 3 0 0 X 3
3 3 0 0 X 3
3 2 0
3 2 0
3 2 0
0
3 0 0
2
3 2 0
3 2 0
3 2 0
0
3 0 0
2
7 7 7 5
3 2 0
3 3 0 0 X 3
12
13
12
15
14 15
2
0
End Rhy. Fig. 4A
End Rhy. Fig. 5
5 5 5 3
5 5 5 3
5 5 5 3
3 0 0 X 3
Rhy. Fig. 5A
3 0 0
3
G5
17
5 5 5 5
3
1/2
15
12
15
End Rhy. Fig. 4
Rhy. Fig. 4A
Gtr. 4
14
15
5 5 5 5
12
0
End Rhy. Fig. 5A
1 0 2 3
1 0 2 3
1 0 2 3
3 0 0 X 3
3
Verse Gtr. 1: w/ Rhy. Fig. 1 (3 times) Gtrs. 3-5 tacet
D
C
G
2. I keep a jour
-
nal
of mem
o
3
C
G
D
I
can’t
breathe.
8
8
10
10
8
8
-
ries.
I’m feel - in’ lone
-
ly,
5
3
C
D
-
Gtr. 2
5
C
C
G
C
Fall to
piec - es,
I’m
5
fall
-
in’.
3
3
Pre-Chorus
D
C
Gtr. 2 tacet Gtr. 4: w/ Rhy. Fig. 3
Gtr. 1: w/ Rhy. Fig. 2
G
Fell to
piec - es
and I’m
5
G5
8
D
fall
3 0 0 X 3
4
still
2 3 2 0
-
in’
G5
down.
2 3 2 0 3
10
All
1
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
Ev - ’ry time,
a - lone
I
2 2 2 0
2 2 2 0
Gtr. 3
10
fall - in’.
8
A
A
G5
fall
to
3 0 0 X 3
piec
-
es.
A
2 2 2 0
I’m
G5
2 2 2 0
3
1
Chorus Gtrs. 3 & 4: w/ Rhy. Figs. 4 & 4A (3 times)
D
C
G5
D
Ev -’ry time, I’m
fall
-
in’
down.
C
All a - lone
I
G5
fall
to
piec
-
es.
Gtrs. 3 & 4: w/ Rhy. Figs. 5 & 5A
D
C
G5
Ev -’ry time, I’m
Bridge Bm
fall
in’
down.
All a - lone
G
All the years I’ve Gtr. 6 (clean)
-
D
tried
with more
G5
fall
I
C
to
piec
-
es.
to
go.
mf w/ chorus let ring throughout
4
3
0 4
3
4
3
4
3
0 4
3
4
3 5
4
4 4 4 2
3
4
3 5
3
0 4
3
4
3
4
die?
3
0 4
I’m
wait
-
G
And will the mem - ’ries
0 4
3
4
0 4
3
4
3
3 3 0 0 X 3
4 4 2
Bm
3
Gtr. 3
4
3
4
ing.
3 5
4
3
0 4
let ring
3 3 0 0 X 3
3
3
4
3 5
4
3
0 4
3
4
3
0
5
Bm Gtr. 3
And will
I
find
0
3
3
4
4
3
4 4 4 2
G5
Gtr. 6
5
4 4 4 2
4 4 4 2
4 4 4 2
4 4 4 2
3
4
5
fall
-
ing
5
4
3
2
5
I
find
you?
2
2
2
3
2
2
2
2
3
2
2
2
0
(cont. in slashes)
G
15 fr
3
down,
5
4
We’re
3
4
And can
0
3
4
you?
4
A
4
I’m
fall
-
5
5
5
4
ing.
3
5
5
4
3
5
4
5
Guitar Solo Gtr. 4: w/ Rhy. Fig. 4A (3 times) Gtr. 6 tacet
D
Rhy. Fig. 6
Gtr. 5
1 17
6
C'9/D D
1
17
C
G
End Rhy. Fig. 6
3 1 17
17
17
1 17
1 17
1
17
15
17
16
15
17
17
Gtr. 3: w/ Rhy. Fig. 6
D
C'9/D D
3
1/2
20
20
D
Gtr. 3
14
14
Gtr. 5
1/2
18
18
19
G
14 16
15
17
C
17
17
16
12
12
1
12
12
15
2 2 0
2 2 0
2 2 0
15 17
16
15
1
12
2 2 0
15
14
15 14
14
15 fr G
1
12
15
2 2 0
2 2 0
2 2 0
2 2 0
2 2 0
1/2
12
14
15
15
2 2 0
1/2
15
15
14
15
1
15
14
2 2 0
2 2 0
2 2 0
14
14
16
A G5
G5
2 2 0
15 14 15
15
3
1/2
15
3
1
15
16
2 2 0
hold bend
1
14
let ring
3
3
Gtr. 3
slight P.M.
16
G
8v a
1
14
16 17 16 14 16
Dsus4 D
3
1
17 19 17 16
1
2 2 0
(cont. in notation) 8v a loco
3
14
Em Gtr. 4
20
let ring 1
19
3
1
C
loco
8v a
15
1
3
15
15
0 0 X 3
0 0 X 3
2 2 0
2 2 0
2 2 0
14
15
1
3
Chorus Gtr. 3: w/ Rhy. Fig. 4 (3 times) Gtr. 4: w/ Rhy. Fig. 4A (7 times)
D
Ev - ’ry time,
Gtr. 5
8v a
1/2
14
Gtr. 5 tacet
C
I’m
G5
3 1
14
17
fall
loco
D
17
15 17
16
-
in’
down.
15
15
All
a - lone
I
fall
8
7
C
piec
-
es.
G5
to
D
All
Gtr. 3
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
D
I
Ev - ’ry
I’m
a - lone
time,
C
fall
G5
to
piec
7 7 7 5
7 7 7 5
5 5 5 5
7 7 7
7 7 7 5
5 5 5 3
5 5 5 3
5 5 5 3
3 0 0 X 3
Ev - ’ry time,
C
Gtr. 3
piec
-
G5
to
D
C
fall
D
es.
All a - lone
I
14
14
15
14
15
17 16
I’m
C
17
8
2
3 2 0
3 2 0
3 2 0
0
3 0 0
2
3 2 0
3 2 0
3 2 0
0
3 0 0
3 2 0
3 0 0 X 3
3 0 0 X 3
3 0 0 X 3
3 0 0 X 3
a - lone
G5
G5
13
piec
12
17
-
I
-
in’
fall
down.
0
1 0 2 3
es.
15 14 15
2
16
All
C
down.
fall
to
13 12
Gtr. 4
3 0 0
time,
in’
down.
Ev - ’ry
fall
14
in’
1/2
15 14
-
Cadd9/D D
Gtr. 5
-
es.
D
I’m
G5
-
Gtr. 3: w/ Rhy. Fig. 4A (3 times) Gtr. 5: w/ Riff A (3 times)
D
fall
C
G5
1 0 2 3
1 0 2 3
3 0 0 X 3
from Slash - Slash
Gotten
Words and Music by Slash and Adam Levine
Intro Slow q = 65 *C#m7
Asus2
Riff A
Gtr. 1 (clean)
mp
let ring throughout
9
8
9
7
9
9
9
8
9
9
9 0
9
8
9
7
9
9
9
8
9
9
9
9
*Chord symbols reflect implied harmony.
Esus2
9
9
Badd4
End Riff A
9
8
9
7
9
9
9
Cadd#4
9
8
9
9
9
9
0
8
**
0
0
0
8
9
7
8
10
9
10
7
9
10
10
**Lift index finger from 6th string to fret note.
Verse Gtr. 1: w/ Riff A (1 1/2 times)
C#m7
1. So
nice
to
see
Asus2
your face
Cadd#4
Badd4
Esus2
a - gain.
Tell me,
how
long has
C#m7
it been
Asus2
You look so (Since you’ve been
dif -’rent than be
-
fore,
since you’ve been
here?
but still the
per - son
I
a-
here.)
© 2010 DIK HAYD MUSIC, UNIVERSAL MUSIC - CAREERS and SUDGEE MUSIC All Rights for DIK HAYD MUSIC Administered by WB MUSIC CORP. All Rights for SUDGEE MUSIC Administered by UNIVERSAL MUSIC - CAREERS All Rights Reserved Used by Permission
1
Esus2
-
Badd4
dore,
froz
-
en
with
Gtr. 1
9
9
8
9
7
fear.
9
8
9
9
Aadd9
I’m out - ta love,
9
9
but I’ll take it
9
9
8
0
0
0
9
7
7
5
E
Badd4
Aadd9
5 4
4
6
5
7 6
4
7
5 6
’cause I’m sure
Riff B
0
9
8
0
0
0
8
9
7
0
C#m7
B5
the
past.
6
0
0
0
6
All out - ta words
8
from
0
it - ’ll nev - er
last,
7
6
0
0
0
6
0
5
A
B7sus4
oh.
End Riff B
4
2
6
6
0 6
0 6
6
0
6
6
6
2
4
2 0
0 2
0
2 2
2
0 2
2
0
2
2
Chorus E
Esus4
been
sav
And I’ve
Rhy. Fig. 1
mf
-
E
B
in’
these
B7sus4
last
words
for
B
w/ slight dist.
0 0 1 2 2 0
1 2 2 0
1
C#m11
last
mir - a
one
9 9 11 11 9
9 9
9 9 11
E
Esus4
save
can’t
0 0 1 2 2 0
0 0 1 2 2 0
0 0 1
2 0
0 0 2
7 8 9 9 7
-
cle,
but
9 9 9
9 9 11
you
if
0 0
0 X X
I’m
not
6 7 7 5
6 7 7 5
0
7 7 8 9 9
7 8 9 9 7
7 7 9 7
7 7 9 7 9 7
9 7
B
9 9 7
7 5
7 7 8 9 9 7
B
let
me.
7 7 8
9 7
Bsus4
7 7 8
sure.
7 5
don’t
7 7 9 7
5 5 6
you
9
B
0
9 7
now
9 9 11 9 11
7 7 8 7
And I
0 0
A
9 9 9 9
1 2 0
9 9 11 9
0 0 2 2
C#m
0 0
2
9
7 7 9
7 7 9 9 7
7 7 8
8 9 9 7
3
C#m
C#m11
You
me
9 9 9 11 9
9 11 9 11
9 9 9 9
nev - er
been
got - ten
be - fore,
End Rhy. Fig. 1
mp
5 5 5 5 7 5
5 5 6 7 7 5
9 9 11 9
9 9 11 9
9 9 11 11
like I
9 9 9 11
9 11 11 9
get
Am7
just
A
Interlude Gtr. 1: w/ Riff A
C#m7
Asus2
no.
Gtr. 2 (slight dist.)
mf
1/2
9 11
9
11
11
Esus2
9
11
11
11
9 11 9 11
9
11
11
Badd4
9
11
13
11
12 13
9
11
Cadd#4
11
9 11
11
2. Oh,
9 11 9
1/2
9
11
9 11
11
1/2
11
11
11
11 9
11
9
11
1/2
11 9
11
9 11
1/2
11
1/2
11
1/2
11
11
9
11
9 11
Verse Gtr. 1: w/ Riff A (1 1/2 times) Gtr. 2 tacet
C#m7
yeah.
4
Asus2
3
May - be it’s the
bit - ter
wind,
Esus2
a chill from the Pa - cif - ic
rim
3
3
that brought you this
way.
Gtr. 2 tacet
Cadd#4
C#m7
Asus2
Do not make me think of (Brought you my
Gtr. 2
11 13
Gtr. 1
Badd4
skin
that haunts
9
8
9
7
me ev - ’ry day.
9
9
8
9
9
but
I can’t
9
9
0
7
E
Badd4
8
0
0
I’m out - ta love,
9
Aadd9
9
touched your fra -
Esus2
gile
the way he
3
9
him,
way.)
Badd4
0
8
9
for - get the
past.
7
6
0
0
0
6
7
5
Gtr. 1: w/ Riff B
I’m out - ta words,
4
6
4
5 6
0
5
4
6
4
Gtr. 2
Aadd9
but I’m sure
it - ’ll
nev - er
last,
5 11
9
11
0
5
C#m7
B5
A
B7sus4
oh.
1
1/2
9
12
11
11
11
9
11
9
9 9
11
9 9
11
Chorus Gtr. 1: w/ Rhy. Fig. 1
E
And I’ve
been
Esus4
E
B
sav - in’
B
these
B7sus4
last words
C#m
C#m11
for
one
mir - a - cle,
last
but
1/2
9 9
A
9
now
I’m
not
B
sure.
9
6
E
11
11
9
And I
9 10
9
11
11
11 9
11
Esus4
can’t
save
you
if
B
Bsus4
you
don’t
B
let
C#m
3
11
You
9 11 11
11 9
11
9
11 9
11
13
get
me
like I
Am7
nev - er
been got - ten
be - fore.
11 11
B
just
A
3
C#m
me.
C#m11
A
G#5
3
Oh,
Gtr. 2
3
Gtr. 3 (dist.)
I
nev - er
been
got - ten
3 8
Gtr. 1
like
9
8
9
4 5 6 6 4
5 6 6 4
5 6 6 4
8
11
11
11 9
9
11
9
7
be - fore.
9
5 6 6 4
5 6 6 4
5 6 6 4
7 7 8 9 9 7
7 7 8 9 9 7
6 7 7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
6 4
6 4
0
mp
7 5
7 5
7 5
7 5
7 5
6 4
6 4
0
7
Guitar Solo
F#5
D5
Gtr. 2
f
A5
w/ dist. let ring 1
*Gtrs. 1 & 3
1
1
1
1
2
2
2
2
7
7
4
4
4
4
9
9
Rhy. Fig. 2
f
4 2
4 2
let ring 1
7
9
9
9
1
1
let ring
1
1
1
5
5 5
5 5
5 5
7
7
7
7
7
7
9
9
7 5
7 5
9
7 5
7 5
w/ dist.
4 2
4 2
4 2
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
*Composite arrangement
E
let ring
1
9
9
8
1
0
1
1
5
5
5
5
7
7
7
7
7 5
F#5
2 0
1 2 2 0
let ring
1
5 7
B5
let ring 1
7
B5
4
4
2 3
4
1
2
2
4
4
3
2 2 0
2 2 0
4 2
4 2
4 2
4 2
1/2
2 2 2
4 2
let ring
1
2
4 2
4 2
let ring
1/2
3
2
3
3
2 2 4
End Rhy. Fig. 2
4 2
X 2
4 4 2
4 2 2
4 4 2
2
Gtrs. 1 & 3: w/ Rhy. Fig. 2 (1 1/2 times)
F#5
D5
let ring
1
2 2
1
1
2
2
2
4
4
4
4
let ring 1
7
9
9
1
1
7
9
9
B5
1
5
5
9
9
7
7
11
11
9
9
E
1/2
9
9
12 10
12
12
11
Gtrs. 1 & 3
9
12
1
1
11
let ring 1
9
11
11
7
9
5
7
7
7
7
7
7
9
9
1
12 10 12
1
7
7
7 7
9
9
9
1/2
6
10
10
11
11
G#
11
11 9
5
9
7
1/2
8
8
9
9
9
B5
1
10
F#5
1
5 5
9
9
1
5 5
1 9
1
5 5
F#5
9
1/2
10
9
let ring
A5
B5
12 12
1
D5
1 hold bend
12
9
let ring
9
1
7
7
9
5
9
12
7
let ring
1 hold bend
2 4
7
Gtr. 2
1
5
F#5
E
Gtr. 2
1
2 2 2
A5
11
10
9
9 7
9
6
11
10
10
12
A
1 12
9
11
mp w/ clean tone
7 5
0
2 0
1 2 2 0
2 2 0
2 2 0
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 4 5 6 6 4
6 7 7 5
9
Verse Gtr. 1: w/ Riff A (1st 3 meas.) Gtr. 3 tacet
C#m7
3. So
Gtr. 2
Asus2
nice
to
see
your
face
a - gain.
But tell me,
will
ev -
this
12
Esus2
er end?
Don’t
dis
-
ap
Badd4
-
p
*
pear.
Gtr. 1
Aadd9
1
12
12
9
8
0
0
0
8
9
7
7
0
6
0
0
6
0
5
*Vol. swell
Chorus Gtrs. 1 & 3: w/ Rhy. Fig. 1 (1st 4 meas., 2 times)
E
I’ve
Gtr. 2
Esus4
been
sav
-
E
B
in’
these
last
B7sus4
words
for
B
3
mf w/ slight dist. 1/2
9
10
11
9
11
11
11
11
9
11
9 11
C#m
C#m11
A
one
last
mir - a - cle,
B
but
now
9
11
I’m
not
12
don’t
let
me.
B
3
1/2
11
1/2
11
3
11
11
11
9
11
if
just
get
me
like
I
1/2
11
you
9 11
You
can’t save
C#m11
12 11
11
C#m
Esus4
hold 1 bend
12
12 11
I
1 hold bend
B7sus4
let ring
you
E
sure.
11
B
1
11
9
11
11
Gtrs. 1 & 3: w/ Rhy. Fig. 1 (1st 3 meas.)
A
nev - er
been
B
got - ten
9
Esus4
E
be - fore.
E
9
9
11
13
12
13
12
12
12
13
13
13
12 13
11
9
11
11
B
B7sus4
B
C#m
Yeah,
yeah,
yeah,
C#m11
rit.
like
I
rit.
1
9
11
12
11
12
11
1
12 12
12
12
11
11
11
1
1
12 11
9
12
1/2
9
9
9 11
9
11
nev - er
Gtr. 2
12 11
Gtr. 3
7 5
12
been
got - ten
E
be - fore.
9
5 6 7 7 5
Gtr. 1
Am7
5 5 5 X 5
9
12 11
11
Gtrs. 2 & 3 tacet
A
9
1 2 2 0
11
9
from Guns N’ Roses - Appetite for Destruction
Mr. Brownstone Words and Music by W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan and Steven Adler
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately q = 105 μ
Gtr. 2 (dist.)
f
string noise w/ wah-wah
Gtr. 1 (dist.)
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
Play 3 times
f
string noise
XXX X X
(cont. in notation)
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
E5
Gtr. 1
Gtr. 2
12
12
11
10
10
9
8
8
7
7
6
5
4
3
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
6
A5
0
9 9 7
3
4
2
0
0
3
4
2 0
3
4
0
0
1
1
1
2
2
3
4
5
6
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X
X X X X 0
1
12
0
D5
3
7
2 0
X X X X
X X X X
6
4
0
2
0
12
0
X X X 0
9 7
E5
2
0
2
0
3
4
2 0
7 7 5
7 7
Copyright © 1987 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
0 0 0
0
1
A5
0
3
2
0
0
2 0
2 0
4
3
4
3
D5
E5
A5
Riff A
0
3
2
4
0
0
3
4
2 0
3
4
2 0
Riff A1 P.M. P.M. P.M. 2 2 0 2 0 0
3
4
0
3
4
0
3
4
A5
D5
3
6
4
0
2
0
3
4 2
3
B5
7
0
C#5
G5
2
7 7 5
9 9 7
2 0
B5
2 0
2 0
4
A5
G5
E5
2
0
2
0
3
X X X
2 0
4
1/4
X X X
P.M.
0 0 7 5
6 4
D5
4 2
C#5
3
B5
0
G5
E5
1. I 2. The show
0
4
0
0
3
4
2 0
3
4
2 0
P.M. P.M. P.M. 0
2
3
2
3
4
2
0
0
3
4
2 0
3
4
2 0
3
7
6
4
0
2
0
2
0
2
0
3
4
2 0
End Riff A1
1/2
7 5
6 4
End Riff A
4 2
2 3
0
6
Verse 2nd & 3rd times, Gtr. 2: w/ Riff C (2 times)
E5
get u - su - al - ly get 3. Now I
Riff B
5
up starts up
7
7
X
Chorus G5
7
X X
X X
G5
Rhy. Fig. 1 *Gtrs. 1 & 2
5 3
5
F5
We’ve
X
7
3 1
been
I
3
2 0
4
X X
5
7
5
7
7
7
X
7
6 5
7
5
X
X X
5
7
7
C5
with
X X
X X X
5
X X
5
7
Bb5
Mis
X X X
5 5 3
0
X X X
3
7
C5
ter
7
X
5
X X
5
3rd time, To Coda 2
E5
5 5 3
I
X X X
End Riff B
X X X X
0 2
5
C
3
X X X X
4
He’s
X X X
End Riff C 6 5 5 5 7
7
2 0
Brown - stone.
5
5
time.
7
D
X X X
5
-
3 3 1
X
2
4
2 0
of my wor - ry - in’s a waste and feel - in’ fine. drink him on down the line. kick
4
But
5
3
3
And
G5
7
5
a - round nine. a - round nine. on time.
bed stage up
A5
danc - in’
5 3
6 5
X X
5
get out - ta we go on used to get
ry a - bout noth - in’, be - cause no, a - bout e - lev - en, sip - pin’ a he’s a real mutha - f**k - er, gon - na
Riff C
5
7
7
X
X
5
wor bus man,
I don’t Get on the that old
5
E5
a - round sev - en, a - round sev - en, a - round when - ev - er,
7
A5
D
been
knock - in’.
7 7 7 5
5 5 5 3
7 7 7 5
End Rhy. Fig. 1
*Composite arrangement. Gtr. 2: wah-wah off
3
He
Gtr. 1
To Coda 3
won’t
leave
4
me
a - lone.
5
6
7
5
E5
7
9
2
3
4
5
2 0
2 0
X X
7
7
X
7
X
w/ wah-wah
7
No,
no.
no,
1/2
7
7
7
7
X
Riff D1
7
X
7
used ta
5 7
7
5
7
7
do
4 42
Rhy. Fig. 2A
4
4 4 2
2
2
0
1/2
7
7
7
5
5
7
7
5
X
7
7
5
7
a
a
7
5
do, and
7
X
7
so
the
lit - tle
4 4 2
4 4 2
X X X
2 2 0
4 4 2
X X X
2 2 0
X X X
4 4 2
0
2
4 4
X X X
0
1
4 4 2
0
7
5
A5
4 4
0
7
4 4 0
leave me a - lone.
I
End Riff D1 1/2 2
7
X
X X X
7
lit - tle would - n’t
1/2
B5
lit - tle, but
μ
End Riff D
2
A5
Rhy. Fig. 2
7
He won’t
Bridge B5
X
1/2
7
Riff D
To Coda 1
7
5
7
9
Gtr. 2
5
X X X
2 2 0
G5
got
5
5
7
7
5
4
7
7
5
4
A5
more
2 2 0
X X X
3
7
and
X X X
2
X X X
2 2 0
X X X
2 2 0
4
5
0
5
3
0
0
2
more.
I
End Rhy. Fig. 2
X X X
X X X
3
5
2 2 0
X X X
0 0
End Rhy. Fig. 2A
X X X
3
4
2 2 0
X X X
X X X
1.
1st time, Gtr. 2: w/ Rhy. Fig. 2A 2nd time, Gtr. 2: w/ Rhy. Fig. 2A (1st meas.)
2.
D.S. al Coda 1
B5
A5
just keep
B5
A5
try - in’ ta get
a lit - tle bet - ter, said a
G5
A5
lit - tle bet - ter than
4 4 2
4 4 2
X X X
X 4 X 4 X 0
4 4 2
4 4
4 4 2
0
2
4 4
Coda 1
5
X X 0 X 0
2 2 0
lit - tle bet - ter than be - fore.
End Rhy. Fill 1
X X X X X X 3
A5
3
2 2 0
2 2 X 3
2 2 0
5
3 0
Guitar Solo
μ
0
I
G5
Rhy. Fill 1 Gtrs. 1 & 2
X 2 X 2 X 0
2 2 0
X X X
2 2 0
be - fore.
Gtr. 1
A5
Gtr. 3 (dist.)
F#5
f
B
F#
E5
A5
A5
E
1
1/2
14
17
17
16 14
X 16
16
14
16
3
3
1/2
16 16
16 14 16 16
16
3
1/2
Riff E
16
1/2
16 14 16 16
16
16 14 14
Gtr. 1
7
5
4 2
4
4 4 X 4 2 X
5 0 0
X X
4 4
2
3
4 4
Riff E1
2
2
3
XX XX
2 XX 0 XX
2 2
Gtr. 2
7
5
4
7
5
3 0
4
2
2 X
2
X
X X
4 X 4 X
1 2
2
2
0
X X X X
0
1 2 2
X X X X
2
X X
1 2 X 2 X
2 2
X X X X
X X
End Riff E1
0
16 14
End Riff E
1 2 2 5 0
2 2 0
4
Gtrs. 1 & 2: w/ Riffs E & E1 (2 1/2 times)
F#5
Gtr. 3
B
F#
E5
A5
A5 E
3 3 Gtr. 4 (dist.) divisi
1
1/2
F#5
Gtr. 3
1
f
w/ heavy reverb
1/2
16
X
16
16
14
17
14 17 14
17
14
14 16
17 16 14 16 16
F#
3
1 1/2 1
*
17
B
8v a
16 14
16
16
16
14 2
17
17
14 16
4
*Gtr. 3 to left of slash in tab.
5
Gtr. 4 tacet
E5
A5
E
A5
E
F#5
B
F#
loco
8v a
Gtr. 3
3
6
3
6
1
17 16 17 16 14
17
14 14
1
14
17 14 17 14
16
16
E5
Gtr. 3
D5
1
16
14
14
Gtrs. 1 & 2
10
12 10
12
3
1
10 13 13 10
7 7 5
D5
1 13
9 9 9
7 7 5
5 5 3
Coda 2
16
15
1/2
14
14 16
16
C5
w/ wah-wah as filter let ring 1 1
3
3
3
3
0 0 0 0 0 0
3 6
3 3 3
3 1
C#5
1
5 3 5 3
5
5 3
let ring
1
4
Bb5
14
16
14 16
14
16
C5
D5
1
1
10
9
7
13
12
10
7 10
8
8
8
3
let ring 1 11
1
8 11 8 11 8
X X X X X X
5 5 3
3 3 1
X X X X X X
D.S.S. al Coda 2
Gtr. 4 tacet
μ
G
Gtr. 1
17
X
X X X X X X
7 7 5
6 6 4
14
5 0
8 8 8
5 5 3
18
18
8
string noise
15
9
1
15
10 8 10 8
10
G5
1
let ring 1 10
5 3
B5
3 0 0
3
12 10 10 12 12
16
G5
9 9 9
16 14
1
14
Gtr. 4
17
7 7
C5
F5
5
9 9 7
D5
17 14 17
17
16
16
G5
1
1/4
14
Gtr. 3 tacet
E5
1/2
14 17 14
17 14
Gtr. 2
(Gtr. 1, cont. on upper staff)
7 7 5
4 4 2
XXXX XXXX XXXX
12 12 10
X X X
X X X X X 12 12 X X X X X 12 12 X X X X X 12 12
4 4 4
1.
Bridge 1st time, Gtrs. 1 & 2: w/ Rhy. Figs. 2 & 2A (2 times) 2nd time, Gtrs. 1 & 2: w/ Rhy. Figs. 2 & 2A (1 1/2 times)
B5
A5
B5
A5
G5
A5
used ta do a lit - tle, but a lit - tle would - n’t do, and so the lit - tle got more and more.
B5
I
A5
B5
just keep try - in’ ta get
2.
a lit - tle bet - ter, said a
Gtrs. 1 & 2: w/ Rhy. Fill 1
D.S. al Coda 3
A5 G5 A5 B5 A5 B5 A5 A5 A5/G lit - tle bet - ter than be - fore.
6
I
just keep try - in’ ta
get
a
lit - tle bet - ter, said a
lit - tle bet - ter than be - fore.
Coda 3
Gtrs. 1 & 2: w/ Riffs D & D1
No,
no,
no.
He won’t leave me
μ
a - lone,
nev - er.
Interlude
Gtrs. 1 & 2: w/ Riffs A & A1
E5
A5
D5
C#5
B5
G5
Oh,
E5
leave me
Stuck it
in
the mid - dle, and
I
shot
it
in
the mid - dle, and
it,
Gtr. 1
P.M.
2
0
1
0
2
2
0
1
2
0
1
0
2
2
a - lo
Outro E5
0
1
-
A5
D5 C#5
B5
G5 E5
one.
A5
P.H. it drove me
2
0
1
0
out - ta
2
2
my
0
mind.
1
I
0
2
1
2
Pitch: C#
Gtr. 2
wah-wah off P.M.
0
3
4
2
should - ’ve known
0
3
4
0
3
4
2
0
0
3
4
0
D5 Gtrs. 1 & 2
0
bet - ter, said
I
wish
I
nev - er
met her, said
3
4
2
0
0
I,
I
leave
it
3
4
0
3
4
2 2 0
E
all
be
-
hind.
(Gtr. 1, cont. in slashes) 1/2
3
2
0
2
0
3 2
0
Free time Gtr. 1
2
0
2
0
Yow -
3 2
1 2 2 0
0
2
0
sa!
Gtr. 2
2
0
0
2
0
2
0
2
0
3
1 2 2 0
3
7
from Guns N’ Roses - Use Your Illusion I
November Rain Words and Music by W. Axl Rose
C
Ftype2
F
G
E5
F5
C5/G
D5/A 5fr
32 1
13421
G5
134211
Dm/A
21
C'4
34
23
134
C5
Eb5
1134
Ab5 6fr
134
231
34 1
134
134
1134
Bb5 4fr
134
134
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately slow q = 75
(Elec. Piano)
p
mp
0 1 0 2 3
C **Gtrs. 1 & 2
Dm9
* F,7 Gtr. 1 (acous.)
2 3 3
*Chord symbols reflect overall harmony.
**Gtr. 2 (elec.) w/ clean tone.
Gtr. 2 tacet
F,7
Dm9
Gtr. 1 (acous.)
Gtrs. 1 & 2
C
0 1 0 2 3
1 1 2 3
Verse Gtrs. 1 & 2 tacet
F,7
1. When
I
look
in
-
to
your
Dm9
eyes,
I
can
see
a
re - strained.
love
Copyright © 1991 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
1
C
(Ah.
Gtr. 2
Riff A
End Riff A
let ring
0
2
3
1
Gtr. 2 tacet
F,7
3
But, dar - lin’,
when
I
Dm9
hold
you,
don’t you know
I
the
feel
same?
Ah.
C
Yeah.
Ah.)
Gtr. 2
let ring
1
2
0
2
3
Gtr. 1 tacet
Dm9
Noth - in’
G
for - ev
-
er,
3
lasts
and
we
both
know
hearts
can
change.
Rhy. Fig. 1 Gtrs. 1 & 2
End Rhy. Fig. 1
Gtr. 2
1 3 2 0
3 3 0 0 2 3
Gtr. 2: w/ Riff A
C
Gtr. 1
let ring
3
3
5 5
let ring 6
5
5
6
0
6
5
5
And
it’s
hard
6
0
3
to
a
-
dle
can
let ring
5
7
7
5
5
7
8
7
in
cold
No
the
let ring
6 7
0 5
G
hold
3
5
5
let ring
7
let ring
5
Gtr. 2: w/ Rhy. Fig. 1
Dm9
0
-
8 5
vem - ber
rain.
8
3
*C
Gtr. 2
let ring
3
3
5 5
let ring
6
0
6
6
5
3
0
5
5
5
let ring
let ring
5 5
7
5
0 7
5
5
5
5
5
*See top of first page of song for chord diagrams pertaining to rhythm slashes.
Verse
Gtr. 2 tacet
F
Dm9
Riff B
3
2. We’ve been through this
such a
long,
let ring
5 5 7
8
6
oo, Voc. Fig. 1
time,
just
try - in’ to
kill
the
6
0
8
6
yeah.
pain.
let ring
7
C
long
But
(Ah. Gtr. 1
let ring
let ring
3
3
3
6
5
Gtr. 2
Riff C
3
4
6
6
0
0
let ring
5
5
let ring
0
5
5
5
let ring
0 1
0 0
End Riff B
let ring 7
5
7
5
7
5
5
End Riff C
let ring 3
0
3
0
3
1
1
Gtr. 1: w/ Riff B (2 times)
F,7
lov - ers
al - ways come
and
lov - ers
al - ways
go
and
Dm9
no one’s real - ly
sure
who’s
let - tin’
go
to - day,
Ah. Rhy. Fig. 2
let ring
1
0 1 2 3
1
C
walk - in’
let ring
0
3
1
0
3 0
Gtr. 2: w/ Rhy. Fig. 2
1 3 2 0
let ring
0
0
1
1
let ring
0
0
1
0
0
Dm9
we could take
to
I
rest
my
If
the time
a - way.
F,7
End Rhy. Fig. 2
Gtr. 2
Ah.
lay
it
on
the
line,
could
head
0
End Voc. Fig. 1
let ring 3
0
3
0
3
1
just
know - in’ that
you were
1
mine,
Gtr. 2: w/ Riff C
C
all
mine.
Ah.)
5
Gtr. 2: w/ Rhy. Fig. 1
Dm9
So
if
you
wan
G
-
na
love
0
6
6
let ring
3
3
5
then,
dar - lin’
1
1
don’t
re - frain.
3
0 3
let ring
4
let ring
6
0
6
0
0
let ring
5
5
5
1
0
3
let ring
5
5
6
7
5
7
5
7
5
5
End Riff D
3
1
let ring
let ring
0
5
5
Riff D
7
6
5
Gtr. 2
me,
C
Gtr. 1
let ring
0 6 7
1
3
0
3
0
3
1
1
Gtr. 2: w/ Rhy. Fig. 1
Dm9
Or
Gtr. 1
Riff E
I’ll
just
end
up
let ring
7
6
6
0 7
G
walk
-
in’
in
No
the
cold
-
vem - ber
5
5
4
rain. End Riff E
4
4
let ring
0 3
3
Gtr. 2: w/ Riff D
C
let ring
3
5
5
5
3
5
5
5
6
0
6
6
5 5 5
5
5
5
need
you
5
5
let ring
7
5
Do
5
7
3
some
time
1
0
1
Rhy. Fig. 3
on
your
End Rhy. Fig. 3A
own?
Do
ya
need End Rhy. Fig. 3
Gtr. 1
G
Rhy. Fig. 3A
let ring
5
Chorus Ftype2 Gtr. 2
let ring
3 3 0 0 2 3
Gtrs. 1 & 2: w/ Rhy. Figs. 3 & 3A (3 times)
F
some time
all
G
a - lone?
Oo,
G
Oo,
Bridge E5 Gtr. 3 (elec.)
F5
mf
w/ dist.
don’t you know you
know it’s hard
C5/G
to
keep
an
o
-
all
their own.
G
a - lone?
F5
when e - ven
0
2
2 0
friends
seem out
to
harm
let ring
0 1 0 2 3
on
0 0 0 2 2 0
needs some time
pen heart
1 1 2 3 3 1
E5
Gtr. 2
need some time
I
ev - ’ry - bod - y
F
F
1 1 2 3 3 1
7
D5/A
F5
But if
you
could heal
C5/G
you.
Gtr. 4 (elec.)
E5
a
mf
bro
-
ken heart,
w/ dist. 1/2
3
5
1/2
5
1/2
1
3
4
4
5
5
4
Gtr. 2
let ring
1 3 2 0
0
E5
F5
would - n’t
4
time
be
out
to
2 1
charm
you?
0
2
4
0 0 0 2 2 0
8
1 1 2 3 3 1
3 3 0 0 2 3
3
3
G5
2
let ring
let ring
3
1
0
2
Whoa.
let ring
3
3
2
0
0
3
0
0
Guitar Solo Gtr. 3 tacet
F type2
Gtr. 1 Gtr. 4
Dm/A
Rhy. Fig. 4
1
1/2
8
8
8
mp
1 2 3 3
1
2
3
C
3
3
3
C'4
C
1/2
8
5
1/2
5
5
1/2
8
8
8
5
2
1
3
5
7
0
7
0
3 0
5
9
8 9
End Rhy. Fig. 4
7
5
0 0
let ring
0 0
hold bend
8
3 2
3
2
10
3 2 0 0
w/ clean tone let ring
1
8
1
let ring
3
1/2
8
8
0
1
3
Gtr. 5 (clean)
1/2
1
1
6
3
1
8
let ring
1
hold bend
8
8
Gtr. 2
1
0 1 0 2 3
0 1 0 0 3
1
let ring
0 1 0 2 3
1
2
0 3
2
0
1 0 2 3
1 3
3
2
0
0
0
9
Gtr. 1: w/ Rhy. Fig. 4
F
1
1
1/2
8
8
8
6
let ring
2
1 3
1
1
1 1 2 3 3 1
1
3
1 1 2 3
3
C
1 1 2 3
1 3 2 0 0
8
8
8
8
2
3
1
let ring
2
0 0
3
1
0
3
10
8
8
10
8
10
11
1
13
13
12
13
13
12
13
13
End Riff F
let ring
3
2
0
0
1
1
0
2
3
let ring
0 3
10
1 0
0 2 3
0 2 3
0 3
2
0
C
1
Riff F
1
1
1/2 8
1
C'4
10
1
let ring
2
1/2
8
8
let ring
1 1 2 3
1
8
Dm
hold bend
8
8
3
2
0
1
1
Gtr. 2: w/ Rhy. Fig. 1
Dm/A Gtr. 1
Gtr. 4
G
13
3
15
Gtr. 5
0
1
0
12
13
12
13 12
15
let ring
3
2
0
3
12
15
13
1
13
13
12
let ring
2
3
3
0
3 0
0
0
8va
Gtr. 2: w/ Riff F
C
C'4
1/2
1/2
12
12
C
let ring
0 3
2
19
19
19
1 0 2
0 2 3
0 3
12
19
2
0
2 3
17
17
17
15
15
15
13
13
13
12
12
12
13 12
2
3
15
0
2
3
Gtr. 2: w/ Rhy. Fig. 1
Dm/A
loco
12
13
G
13
12
0
1
0
13 12
15
13
12
let ring
0
2
3
3
2
13
15
12
15 13
15
12
13
12
13 12
14
12
12
12
14
let ring
0
3
3 0
0
3
3
10
12 10
9
11
Gtr. 2: w/ Riff F
C
C'4
C
9
9
13
0 1 0
12
10 12 10
let ring
2
3
12 10
1 0
2
Some - times
13
2
3
2
I
need
1 hold bend
10 12 10
9
15
15
15
15
15
1
0
2 3
9
0
Chorus Gtr. 1: w/ Rhy. Fig. 3A (3 times) Gtr. 2: w/ Rhy. Fig. 3A Gtr. 5 tacet
F
Gtr. 4
some
time
on
my
own.
G
Some
-
times
I
need
7
5
grad. bend 1
13
Gtr. 6 (elec.)
13
mf
12
P.M.
w/ dist.
6
5
5
7
8
7
5
7
Gtr. 4 tacet
F
some
time
Gtr. 6
G
all
a - lone.
Oo,
ev - ’ry - bod - y
6
5
6
grad. release 1
6
5
5
6
5
5
7
7
7
5
Gtr. 2
let ring
3 3 0 0 2 3
1 1 2 3 3 1
3
3
0
Gtr. 2: w/ Rhy. Fig. 3A
F
needs
some
time
6
5
Gtr. 6
5
5
7
9
10
5
7
5
7
7
your own?
1 1 2 3 3 1
7
don’t you know you
7
Gtr. 2
5
on
5
Oo,
5
Gtr. 6
own.
7
need some time
6
G
their
G
F type2
Gtr. 1
on
5
10
12
14
16
17
17
19
3 3 0 0 2 3
13
Guitar Solo Gtr. 1: w/ Rhy. Fig. 4 (2 times)
F
Gtr. 6
Dm
1 hold bend
8va
18
20
20
20
20
Rhy. Fig. 5
1 1 2 3 3 1
1 3 2 0
Gtr. 2
1
20
20
18
Gtr. 7 (12-str. acous.)
p
2 3
3
3
2
2 0
3
C
8va
C'4
0
0
2
0
C
loco
1
0
1/2
1/2
18
17
17
17
End Rhy. Fig. 5
0 1 0 2 3
0
1
1
0 1 0 2 3
0
0
0
let ring
0 3
14
2
0
1
0
0
0
0
1
0
3
3
0
1
Gtr. 6 Gtr. 2: w/ Rhy. Fig. 5
F
Dm
17
17
19
18
17
20
18
let ring
0
1
20
1
1
2
C
17
let ring
1 0 2 3
17
19
0
20
C
17
17
0
3
1 0 3 3
0
17
18
20
17
17
1
19
19
17
0
1
3
1
0
18
20 18 17
0 3
3
3
20
1 3
17
19
3
3
1 hold bend
17
17
0
20
19
19
let ring
1
17
20
2
0 3
17
C'4
0
1/2
17
Gtr. 7
2
0
18
17
18 17
19
17
20 19
19
19
0
1
0
2
3
3
2
3
0
Verse Gtr. 1: w/ Riff B (2 times) Gtr. 2: w/ Rhy. Fig. 2
Fmaj7
Gtr. 7 tacet
fears
sub - side
and
shad - ows
19
Dm9
3. And when your
still
re - main,
17
0
1
1
15
Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 6 tacet
C
oh,
Gtr. 2
0
0
1 0
yeah,
0 1
0
1
3
0
0
3
0
3
1
1
Gtr. 2: w/ Rhy. Fig. 2
Fmaj7
Dm9
I
know
that
you
can
love
me
when there’s no
one
left
to
blame.
Gtr. 2: w/ Riff C
C
Gtr. 1: w/ Riff E Gtr. 2: w/ Rhy. Fig. 1
Dm9
So
nev
-
the
dark
er - mind
G
16
5
We
still
let ring
8
ness.
can
find
a
way.
-
Gtr. 1
C Gtr. 2
8 5
5
let ring 6
5
5
6 5
5
5
let ring
5 5
5
5 5
5
5
5
7
5
7
5
7
5
5
Gtr. 1: w/ Riff E Gtr. 2: w/ Rhy. Fig. 1
Dm9
Noth - in’ Gtr. 3
-
er,
for - ev
let ring
let ring
0
0
0
1
3
X X X
5 5 3
0
0
3
X X X
4 5 2
X X X
3 3 1
3
3
2
1
2
3
3
0
2
1
No
-
0 2
let ring
let ring
rain.
X X X
X X X
3
0
0
3
2 2 0
X X X
3 0 0 X 3
3 0 0 X 3
0
X X X
0
(cont. in notation)
let ring
0
3
3
vem - ber
let ring
1
G
0
cold
2
F type2
0
2
X X X
G
Gtr. 3
0
2
e - ven
open
A
Gtr. 1
B
2fr
Interlude C
lasts
G
Gtr. 2
3
3 0
0
0
3
0
0
3 0
0
3
string noise
X X X
5 5 3
X X X
X X X
17
C Gtr. 2
G/B
let ring
let ring
8
7
let ring
let ring
0
0
8
let ring
let ring
1
1 0 0 2 3
5 5 3
4 5 2
2 2 0
3 0 0 X 3
Gtr. 3
1
1
2
1
1
1
1 2
2
string noise
X X X
5 5 3
7 7
3
0
0
3 2
0 0
0 1 0 2 3
let ring
0 0 3
7
3 0
3 0
3
0
0
2
0
1
2
X X X
18
3 3 1
3 3 0 0 2 3
C
let ring
1 1 2 3 3 1
2
2
G
5 X 5
2
F
2
7
3 2 2 0
0
7
8
0
1
5
3
1
3
0
let ring
1 0 0 2
0
3
0
let ring
5
G
7
Gtr. 1
7
8
5
Am
X X X
0 1 0 2 3
5 5 5 3
Faster q = 89 Gtrs. 1 & 2 tacet
Cm7
Gtr. 3
Ab,7
Bb
Cm7
P.M. 3
Gtr. 8 (elec.)
Ab,7
Bb
5 5 3
3
mf
w/ dist.
5 5 3
Cm7
Ab,7
Bb
P.M.
5 5 3
5 5 3
X X
X X X
X X X
Cm7
3
5 5 3
5 5 3
Gtr. 4
3
Ab,7
Bb
P.S.
X X
Gtr. 3
P.M.
5 5 3
Gtr. 8
5 5
X X X
X X X
3
3
5 5
5 5
0
(cont. in slashes) P.M. 5 5
5 5
3
3
5 5
5 5
5 5
10 10 8
19
Outro-Guitar Solo
C5 Gtr. 3
8va
Gtr. 4
19
19
19
10 10 8
10 10 8
X X X
20
20
16
Eb5
20
19
16
8va
16 15
8 X 6
20
10 8
X X X
18 16
15
16
18
20 18 16
10 10 8
X X X
X X X
10 10 8
18
19
16
18
X X X
X X X
10 10 8
10 10 8
16
19
16
8 8 8
8 8 8
15 16 15
6 6 4
0
Bb5
18
18
15
15
X X X
X X X
8 8 6
8 X 6
3fr C
8 X 6
3fr
C5
C
P.M.
P.M.
1/2
15
X X X
8 8 6
X X X
X X X
C5
16
15
3 3 1
5 5 3
15
Ab5
1
5 5 3
X X X
F5
1/2
Gtr. 8
G5
19
19
17
19
16
18
19
16
18
19
17
19 17 16
8 8 8
10 10
X X X
X X X
10 10 8
X X X
X X X
10 10 8
X X X
10 10 8
X X X
10 10 8
X X X
10 10 8
17
8 8 8
10 10
C5
G5
F5
Eb5
1/2
19
19
10 10 8
10 10 8
Spoken: (You’re
20
20
not
the
on
19
-
ly
one.
20
15
15
16
16
15 16 15
18
8 8 6
X X 8 X X 8 X X 6
3 3 1
X X 3 X X 3 X X 1
5 5 5 5 3 3
1 1/2
X X 6 X X 6 X X 4
15 16 18
X X 8 X X 8 X X 6
X X X
3
X X X X X X
15
You’re
not
the
on
X X X
-
ly
one.)
X X 5 X X 5 X X 3
C5
Ah.
Bb5
Ah. 8va
Ab5
loco
8va
3
3
15 16 15 16 15
18
15 11 13 15 13 11 13
11 13 15
11 13 15 16 15 13 11 15 12 13
10 10 8
10 10 8
8 8 6
10 X 10 X 8 X
X X X
10 X X 10 X X 8 X X
10 10 8
X X X X X X
P.M.
8
8
15 13 11
10 10 8
15
11 13 11
15 13 11
11
15 13 11 13 11 9 11 9 11 9
8
7 8 7
8 10
P.M. 8
8
10 10 8
21
Don’t ya think 8va
that ya...
X X X
X X X
Ev - ’ry - bod
-
y
1/2
1
15
15
6 X 4
6 X 4
6 6 4
20
19
3 0
loco
-
1
15
15
X X X
X X X
3 3 1
C5
8 8 6
8 8 6
17
3 3 1
y.
You’re
not
the on
-
ly
one.
8va
16
16
some - one?
1/2
1 1/2
16
16
17
X X X
X X X
some - bod
that ya...
needs
Don’t ya think
20
Bb5
1
5 5 3
X X X
Eb5
1/2
X X X
F5
y?
19
Ab5
22
-
1/2
10 10 8
some - bod
19
G5
17
16
20
15
20
19
20
6 6 4
8 8 6
8 8 6
8 8 6
X X X
X X X
10 10 8
X X X
10 10 8
10 10 8
10 10 8
X X X
10 10 8
X X X
X X X
10 10 8
X X X
X X X
8 8 8
You’re
not
the on
-
ly
one.
8va
Don’t ya think
that ya need
G5
18
16
18
15
16 15
10 10 8
10 10 8
X X X
X X X
10 10 8
18
18
15
16
15
15
16
X X X
10 10 8
X X X
X X X
10 10 8
X X X
10 10 8
X X X
X X X
10 10 8
Eb5
Don’t ya think
8va
16
that ya need
20
19
20
some - one?
3 3 1
X X X
X X X
8 8 6
15
16
y?
19
20
10 10 8
X X X
5 5 3
X X X
Bb5
Bb
Ev - ’ry - bod
needs
-
y
X X X
1fr
P.M.
some - bod
-
y.
15
16
15 16 15
6 6 4
6 6 4
X X X
8 8 6
1
-
Ab5
1/2
20
10 10 8
some - bod
19
16
F5
15
1/2
15
8 8 6
18
15
18
15
23
C5
You’re
not
the on
-
ly
1
1 18
18
18
15
10 10 8
10 10 8
8 8 8
10 10 8
Don’t ya think
C
P.M. 3fr
one.
You’re
8 8 8
10 10 8
10 10 8
16
15
16
not
C5
the on
-
that ya...
17
ly
one.
10 10 8
10 10 8
-
8 8 8 10 10 8
X X X
X X X
X X X
X X X
10 10 8
10 10 8
10 10
17
15
10 10 8
17
16
15
15
15
10 10 8
10 10 8
10 10 8
F5
10 10 8
18
15
Don’t ya think
that ya...
18
15
10 10 8
Eb5
y?
19
8 8 8
8 8 8
1/2
17
some - bod
10 10 8
15
X X X
24
19
3fr
P.M.
G5
8va
C5
loco
8va
8 8 6
C
10 10 8
10 10 8
some - one?
20
19
20
15
8 8 6
8 8 6
8 8 6
8 8 6
1 1/2
20
20
X X X
5 5 3
5 5 3
X X X
X X X
X X X
X X X
3 3 1
16
15
10 10 8
Ab5
Ev -’ry - bod
-
y
Bb5
C5
needs
some - bod
-
y.
X X X
X X X
5 6 6 4
18
5 6 6 4
X X X
18
15
7 8 8 6
X X X
6
not
the on
-
ly
8va
17
18
17
16
16
18
16
15
15
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
6
8 8 6
10 10 8
15
10 10 8
10 10 8
10 10 8
-
ly
one.
1/2
16
18 16 15
X X X
X X X
10 10 8
10 10 8
16
18
15
16 15
18
15
18
18
10 10 8
10 10 8
10 10 8
10 10 10 10 8 8
X X X
X X X
10 10 8
G5
that ya...
some - bod
-
y?
1/2
20
5 5 3
5 5 3
X X X
19
19
15
1
Don’t ya think
10 10 8
the on
1/2
15
not
16
one.
1
16
1
15
P.M.
You’re
15 16 15
You’re
8va
16
10 10 8
10 10 8
X X X
X X X
X X X
25
F5
Eb5
Don’t ya think
8va
that ya...
Ab5
rit. rit.
some - one?
-
y
needs
20
20
19
3 3 1
3 3 1
20
15
16
15
18 16
rit.
X X X
8 8 6
8 8 6
8 8 6
6 6 4
fdbk.
15
10 10 8
26
y.
18
18
8va
1/2
-
1
15
15
C5
15
some - bod
1/2
X X X
rit.
1 1/2
X X X
Ev - ’ry - bod
Bb5
15
15
1/2 15
15
16
from Guns N’ Roses - Appetite for Destruction
Paradise City Words and Music by W. Axl Rose, Slash, Izzy Stradlin’, Duff McKagan and Steven Adler G
C
3
GIII
F
32 1
1342
1342
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately slow q = 94 G
Gtr. 1 (clean)
C
0
0 0 0
mf
w/ chorus let ring throughout
3 0 0 0 2 3
3
3
0
3
0
0
F'9
0
0
C
2 3
Rhy. Fig. 1
3
1
1
2
3
3
1 0 0
1 2
3
0
0
F'9
3
1 2
3
3
0
0 0
1
C
0
0 0 0
0
0
C
2 3
1 3
3
1
2
1
1 0 0
1 2
3
3
1 2
0 0
1
0
3
0
1
0
1
0
3
0
0
3
1
2
3
1
3
3
0 0 0 2 3
3
1
0 0
1 0 0
2
G
1 0 0
1
0
0
2
0
3
1
0
0
3
0
0
2
1
0
0
1
3
G
0 0 0 2 3
3
0
3 0
End Rhy. Fig. 1
0
0
2
0
0
0 0
2
Copyright © 1987 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
0
1
Chorus Gtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)
G
Take
me
down
F'9
to
won’t
you
me please
Cit - y, where the
grass
is
take
me
Take
me
down
to
the
Par - a - dise
F'9
Take
Gtr. 1
3 1 0 0
Gtr. 2 (dist.)
won’t
you
please
3 1 0 0
2 3
the
girls
are
grass
is
G
pret - ty.
green
and
the
girls
are
pret - ty.
take
me
2
home?)
3 0 0 0 2 3
*
3 4 5 5 3
*Vol. swell
2
home.
me
(Oh,
Cit - y, where the
C
and
home. home?)
green
C
G
Take (Oh,
Par - a - dise
C
the
C
f
Interlude
Gtr. 1 tacet *G Rhy. Fig. 2A Gtr. 3 dist.)
f
Rhy. Fig. 2
Gtr. 2
C
P.M.
4 5 5 3
3
F
5 5
3
3
P.M.
6 5 3 3
3
P.M.
5 5 5 3
3
G
P.M.
5 5 5 3
3
C
3
End Rhy. Fig. 2A
End Rhy. Fig. 2
X X X
4 5 5 3
3
X X X
*See top of first page of song for chord diagrams pertaining to rhythm slashes.
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A (1 1/4 times)
Gtr. 4 (dist.)
f
12
14
F
1 13
12
12
1
14
C
1
12 14
Gtr. 2
12 12
1
15
13 14
14 12
14
14
14
12
12
14
12 12
1
1
15 14
14 12
14
14 12
14
(cont. in notation) G
1/2
1/2
13
13
13
12
12
1/2
12
1/2
12
1/2
12
12
12
14
5 5 3
14
12 14
1 hold bend 13
15 14
C
15
P.M.
5 5 5 3
1/2
14 12
1
14
14
F
12
1
14
Gtr. 4 1
12
14
C
Gtr. 3
12
1
14 12
14
14
G
1/2
13
13
12
14
14
12
1
15 14
C
3
P.M.
6 5 3 3
3
3
5 5 5 3
P.M. 3
3
4 5 5 3
4 5 5 3
12
12
3
Interlude
Gtr. 4 tacet
Riff A G5
Gtr. 3
5 5
3 3
4 4
Bb5
5 5
3 3
P.M.
4 4
5 5
3 3
5 5
3 3
1
2
P.M.
3
1
2
3
1
3
1
3 3
4 4
5 5
3 3
P.M.
1/2
3
1
2
4 4
5 5
3 3
5 5
3 3
5 5
3 3
P.M.
1
3
5 5
Gtr. 2
3
C5 Bb5
3 3
5 5
G5
3
1
2
3
1
3
1
3
1/2
1
3rd time, Gtr. 3: w/ Fill 2
Bb5
5 5
3 3
4 4
5 5
P.M. 3
1
2
3
3 3
4 4
5 5
3 3
5 5
3 3
2
3
1
3
1
End Riff A
3 3
5 5
3 3
4 4
5 5
3 3
1/2
3
1
2
0
3
Gtr. 3
4
3 3
4 4
5 5
3 3
5 5
semi P.H. P.M.
Fill 2
5 5
4 4
1
3
C5 Bb5
5 5
P.M. 1
G5
4 4
5 5
3 3
5 5
3 3
1
2
3
5 5
3 3
3 3
G5
1
1/4
X X
1
1
Bb5
G5
C5 Bb5
to beat. hard case that’s tough keep for - tune and fame. push - in’ for the re - mem why I’m here I can’t quite
I’m a 1. Just a ur - chin liv - in’ un - der the street. so they say. You got - ta 2. Rags to rich - es, or 3. Strapped in the chair of the cit - y’s gas cham - ber, Gtr. 3
I’m your You know it’s, ber.
Verse G5
1/4
5 5
X
X X
X X
5
X
X
5
X
5
3
3
5
Gtr. 2
X
P.M. 1
2
3
3
1
2
3
1
3
1
3
X
5
X
0
5
5
3
3
3
3
X
3 1
char - i - ty so buy me some - thin’ to case, it’s all a a gam - ble when it’s just The sur - geon gen - ’ral says it’s ha - zard - ous
5
G5
X
Riff B
3
X
P.M.
1
Bb5
2
3
1
2
1
3
3 1
3
1
I’ll You I’d
eat. game. to breathe.
3
3
G5
pay you at an - oth - er treat it like a cap - i - tal have an - oth - er cig - a - rette
5 5
1/4
crime. but
1/4
5
3
X
X
5
5
X
5
5
0
5
5
3
P.M. 1
2
3
3
1
2
3
1
3
1
3
3 1
3
5
3
5
3
End Riff B P.M.
3
1
2
3
0
1
2
5
1.
C
time. I can’t
1
5
5
5
μ
Take it to the end of Tell me who you’re gon - na
1/2
3
1/2
5
5 5
5 5
5
3
5
5
Rhy. Fill 1
1/2
5 5 5 3
3
2.
Gtr. 2: w/ Rhy. Fill 1
C
3
1
3
3
5
1/2
1/2
5
1
3
3
G5
3 1/2
1
Ev - ’ry - bod - y’s
Gtr. 3
5 5
5 5
3 3
5
5
3
0 0
End Rhy. Fill 1
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A (1 1/2 times)
G
Take
F
me
Oh,
6
down
to
the
Par - a - dise
Cit - y, where the
grass
is
green
C
won’t
you
please
take
me
C
G
home?
20
5
and
are
Yeah,
steady gliss.
μ
0 0
0 0
13
Chorus
15
time.
5
5
1/2 hold bend
1/2
5
do - in’ their
the
girls
yeah.
the line. be - lieve.
1
5
see.
5
To Coda
G5
pret - ty.
0 0
Take
me
down
F
to
the
Par - a - dise
Take
Cit - y, where the
grass
is
green
G
me
P.M.
6 5 3 3
3
3
2 3 3 1
5 5 5 3
0 1 0 2 3
X X X
X X X
3
3
P.M.
Gtr. 3
and
are
the
girls
pret - ty.
home.
Gtr. 2
C
D.S. al Coda (take 1st ending)
C
X X X
X X X
5 5 3
5 5 3
3 3 1
steady gliss.
string noise
0 0 0 X 3
X X X
15
Coda
Chorus
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A (1 1/2 times)
G
Take
F
me
down
C
Take
Take
to
the
Par - a - dise
me
down
the
Cit - y, where the
grass
is
green
and the girls
are
C
home.
to
G
me
Par - a - dise
Yeah,
Cit - y, where the
grass
is
green
C
pret - ty.
yeah.
and
are
the
girls
pret - ty.
7
F
Oh,
C
G5
won’t
you
please
take
me
3
3
5 5 5 3
X X X X
X X X X
Gtr. 2
6 5 3 3
Gtr. 3
2 3 3 1
home?
3
6 5 3 3
3
F5
0 1 0 2 3
3
1
1
13
0
0
Guitar Solo Gtr. 3: w/ Riff A
G5
Bb5
G5
C5 Bb5
Yeah.
Gtr. 5 (dist.)
f
*w/ octaver
1/4
3
3
P.M. 3
5
5
3
1
5
3
4
5
1/2
5
5
5
*Set for one octave below with 50/50 wet/dry mix.
Gtr. 2
P.M.
3
8
1
2
3
3
1
2
3
1
3
1
3
3 1
P.M.
3
1
2
3
3
1
2
3
3
1
3
1
3
3 1
G5
grad. bend 1
1/2
3
5
6
6
6
Gtr. 3: w/ Rhy. Fill 1
Bb5
G5
1/2
6
3 6
5
5
P.M.
3
1
2
3
3
1
2
3
1
3
1
4
8
8
P.M.
3 1
3
3
C5 Bb5
3
1
2
3
3
1
2
3
1
3
1 hold bend
5
C
1
8
8
8
8
5
1
8
5
8
7
Gtr. 3
7 7
5 5
Gtr. 2
5
6 6
7
7
7 7
5 5
6 6
7 7
5 5
7 7
5 5
7 7
5 5 5
P.M. 3
4
5
5
3
4
5
3
5
3
5
5 3
5
7
A5
3 1
D5 C5
P.M. 1/4 1
Gtr. 4
5 3
Gtr. 5 tacet
A5
1
7
5
7
5
7
6
5
3
5
5
3
5
7 7
5 5
3
5
6 6
7 7
5 5
6 6
P.M.
5
4
5
5
3
4
7 7
5 5
3
7 7
5
5 5
3
7 7
5
5 5
5 3
9
Gtr. 4 tacet
G5
Bb5
G5
C
So
1/2
5 5
Gtr. 5
1
3
5 5
3
5
5
1/2
5 5
1
Gtr. 5 divisi
1
3
5 5
3
5
5
Gtr. 3
Gtr.4
5
5
5
let ring
5 5
4 4
5 5
3 3
4 4
5 5
5 5
3 3
3 3
5 5
5 5
P.M. 3
1
2
3
3
1
2
3
Bridge
1
3
1
3
3
far
Gtr. 4
10
10 12
10
10
11
10
11
10
7 5
7 5
7 5
7 5
7 5
X X
5 5 3
7 7 5
7 5
5 5
5
5 5 3
3 3
2
3
3
C5
X X X
5
5
5
0
5 5 3
X X X
X X
7 5
7 5
7 7 5
8 8
X X
X X
X X
so
11
slight P.M. P.M.
*Composite arrangement
10
1
10 12
*Gtrs. 2 & 3
7 5
4 4
a - way,
11
3 3
P.M.
3 1
D5
Gtr. 5 tacet
3 3
Gtr. 2
3 3
10
9
5 3
8 10
8
5 3
5 3
5 5 3
8
9
P.M. 5 3
8
9
X X
5 3
5 3
8 10
8
9
P.M. X X
5 3
5 3
5 5 3
10
X X
X X
D5
far
10
10
7 5
7 5
10
7 7 5
X X
X X
11
10
7 5
7 5
7 5
10 12
10
D5
10
10
11
10
11
P.M. 7 5
5 3
8 10
5 3
8
5 3
8
9
8
9
X X
X X
5 3
5 3
8 10
8
9
P.M.
5 5 3
5 3
5 3
5 3
10
End Rhy. Fig. 3
5 5 3
X X
C5
X X
so
10 12
10
8
11
8
7 5
10 12
Gtrs. 2 & 3
X X
7 5
7 5
7 7 5
10 12
10
11
X X
7 5
7 5
-
10
11
7 5
7 5
7 7 5
8 10
8
8
8
7 7 5
5 5 3
9
8 10
8
9
10
Bb
way.
8 12
8
9
C
10 12
P.M. X X
9
a
11
P.M.
far
9
X X
10
11
8 8
7 7 5
7 5
10
Gtr. 4
a - way,
11
11
far Gtr. 4
So
10 12
Gtrs. 2 & 3: w/ Rhy. Fig. 3
P.M.
D5
10
11
P.M. 7 5
10 12
Rhy. Fig. 3
7 5
a - way.
11
C5
9
6
6 6
8 10
8
9
10
5 5 5 3
5 5 5 3
6
7
6
6
3 3 3 1
11
Verse Gtr. 2: w/ Riff B
G5
4. Cap - tain A - mer - i - ca’s been torn
Gtr. 4
a
-
part.
Now,
he’s
jes - ter with a
Bb5
G5
a court
bro - ken
C5 Bb5
heart.
He said,
1/2
9
7
8
9
7
G5
3
“Turn
9
4
5
3
me
9
7
9
7
7
9
4
5
a - round and
7
9
8
3
5
3
7
3
5
5
3
12
3
4
5
4
Bb5
take
me
back
to
the
start.
9
9
7
9
7
8
7
3
4
5
9
7
8
7
9
7
5
3
5
3
must
be
los
-
in’
my
7
8
9
5
3
5
3
I
7
4
G5
9
5
5
5
5
P.M.
5
8
7
7
9
Gtr. 3
5
8
3
5
9
3
4
5
10
8
3
6
seen
9
1/2
1/2
5
5
a
mil - lion
7
9
9
3
5
7
8
9
9
1/2
5
times.”
semi-P.H.
1/2
5
all
1/2
9
it
I’ve
5
5
blind?
5
μ
you
7
G5
Are
mind.
Gtr. 2: w/ Rhy. Fill 1
C
1/2
5
5
3
5
3
5
Chorus Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A (3 1/2 times) Gtr. 4 tacet
G
Take
me
down
F
to
G
Take
F
Par - a - dise
Cit - y, where the
grass
is
green
C
Take
the
G
me
me
Oh,
to
the
home.
down
C
Par - a - dise
Cit - y, where the
grass
is
green
C
won’t
you
please
take
me
and
are
the
C
G
girls
pret - ty.
Yeah,
yeah.
and
are
the
girls
pret - ty.
home?
13
Take
me
grass
is
down
to
the Par - a - dise
12
14
12
F
12
15 14
14
1 13
Take
1
13
14
12
12
15
grass
is
12
the Par - a - dise
Cit - y, where the
1
14
12
C
14
14
14
14
12
14
12
14
13
1
1
15 14
and the girls
12
14
14
13
14
yeah.
15
green
12
are
1
15 14
1
12
14
me
12
14
to
14
15 14
pret - ty.
15 14
1
down
12
1
14
are
1
1
14
and the girls
Yeah,
14
1/2
12
14
home.
14
12
G
13
14
me
12
14
14
12
green
1
C
Take
1
Gtr. 4
Cit - y, where the
C
14
pret - ty.
1 hold bend
15
15 15
14
12
15
15
13
13
Gtr. 2
C
Gtr. 4
Oh, won’t you
please
GIII
Rhy. Fig. 4
take me
End Rhy. Fig. 4
F
home?
grad. release
steady gliss.
1/2
13 14
13
13
14
6 5 3 3
3
5 5
Rhy. Fig. 4A
P.M.
3
0 0 X 3
5 5 5 3
3
12
12
P.M.
Gtr. 3
3
5 5
X X X
14 14
0 0 0
End Rhy. Fig. 4A
Harm.
fdbk.
12 12 12
0 0
0 0 0 0
12 12
3
0 0 0 0
Pitch: D
Home.
Gtr. 4
12
5 5
Interlude Faster q = 109 Double-time feel
Gtr. 4 tacet
G5
9
10
8
9
10
8
10
8
10
5 5 3
X X X
1/4
8
8
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
5 5 3
0 0 0
X X X
14 14
C
Gtr. 3
5 5 3
5 5
X X X
X X X
12
8
steady gliss.
1/2
10
grad. release
Gtr. 2
Gtrs. 2 & 3: w/ Rhy. Figs. 4 & 4A
G
10
8
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
X X X
9
10
1/4
8
X X X
9
5 5 5 3
10
8
10
8
10
5 5 5 3
X X X
5 5 5 3
8
8
5 5 5 3
0 0
15
C5
6
7
8
6
3 3 3
10
9
10
8
10
X X X
0
5 5 3
5 5 3
5 5 3
5 5 3
9
10
8
9
8
10
8
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
8
5 3
3 3 1
16
6
7
8
6
8
8
10
X X X
X X X
9
5 5 3
9
10
8
5 5 3
X X X
10
5 5 3
8
X X X
5 5 3
5 5 3
10
5 5 3
8
5 5 3
5 5 3
10
8
5 3
5 3
5 3
0
9
10
5 3
5 3
8
5 3
10
5 3
8
10
5 3
5 3
8
5 3
0
0
(Ah.)
8
0
10
1 1/2
5 5 3
8
0
1/2
8
X X X
8
8
8
X X X
10
10
G5
P.M.
let ring
0 0
X X
C5
5 5 3
10 10
1/4
8
10
5 5 3
10
C5
P.M.
F5
10
8
8
0
10
8
8 8
P.M. P.M. 10
1/4
8
X X X
8
8
8
8
1/2
8
G5
F5
5 5 3
10
8
10
10
8
1/4
8
10
10
8
10
8
8 8
3
X
X
X
Outro-Guitar Solo Bkgd. Voc.: w/ voc. ad lib (next 24 meas.)
I
C5
wan - na
I
Gtr. 3
3
3
3
5
3
5
5
7
6
7
6
7
5 5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
X X X
5 5 3
5 5 3
F5
1
2
Oh,
3
1
2
won’t
you
3
1
C5
3
1
3
please
take
1
1/4
1
5 5 3
X X X
3
1
2
3
1
X X X
5 5
me
home?
X X
3 3
3 3
5 5
3
2
1
3
1
3
1
1/4
1
X X X
X X X
5 5 3
3
3
1/4
6 5 3
5 5
G5
5 5
X X X
1/2
3
know.
5 5
Gtr. 2
wan - na
5 5
7
P.M. 5 3
Rhy. Fig. 5
go,
Gtr. 4
5
G5
1/4
3 3
5
3
3
5
5
5
3
5
3
3
End Rhy. Fig. 5
P.M.
6 5 3 3
X X X
X X X
5 5 3
3
1
2
3
0
1
2
3
1
2
3
X X X
0
X X X
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
0
0
P.M. P.M. 0
2
3
1
3
1
2
3
1
3
1
3
1
3
0
17
Gtr. 3: w/ Rhy. Fig. 5 (8 1/2 times)
Gtr. 4
I
wan - na
C5
how
good it can be.
3
1 1/2
15
14
15
1 1/2
1 1/2
15
1 1/2
15
15
15
12
Riff C
3
1
F5
2
1
2
Oh,
3
3
1
3
1
1
won’t
you
1
13
15
3
1
2
13 15 13 15 13 11 13 11 13 11 10 11
1/4
3
14
Gtr. 2
3
1
2
3
1
3
C5
12
1
3
3
please
take
me
6
10 11 10
0
0
6
3 1
12
10
12
3
18
3
12
see,
1 1/2
1
15
1
15
15 18
18
15
1
15
18
18
15
1
15 18
18
15
15 18
18
15
17
3
1
3
3
0
0
1/2
1
2
3
0
3
1
1
G5
home?
15
18
18
15
15
18
18
15
15
18
18
15
15
18
18
18
18
15
End Riff C
P.M.
3
1
0
Gtr. 2: w/ Riff C (7 1/2 times)
1
1
15
1
8va
3 1
Take
3
1
me
to the Par - a - dise
Cit - y, where the
3
3
down
1
P.M.
3
1
C5
grass
is
green
and the girls
5
3
0
are
pret - ty.
loco
3
3
6 3
5
6 3
F5
3 5
6 3
3 5
6 3
3 5
3 5
6 3
3 5
3
6 3
6 3
5
3 5
6 3
C5
Take
6 3
3
5
5
3 5
6 3
3 5
6 3
3 5
6 3
3 5
6 3
3 5
6 3
3
6 3 6
home.
7
3
6 3
G5
me
1/2
3 5
3
3
5
1
3 6 3 6 3 6 3
5 6
3
6 5 3 6 3 6 3
5
3
5
6
3
6 5
3 5 3
5
3
5
2
5
2
5 3
5
4 3
3
1
3
3 1
3
1
19
Take
C5
me
to
Cit - y, where the
grass
is
green
and the girls
X
F5
1
3
3
3
3
1
C5
won’t
you
1
3
3
1
please
3 3
5
5
3
5
me
3
5
3 3
3 3
me
beat
5
F5
Oh,
5 5
5 5
5
won’t
you
5 5
C5
please
8
8
6
8
6
10
9
8 10
3
3
5
3
5 5
5
me ’round.
3
1/2
take
me
10 10
3
3
3
6
8
6
8
8
8
6
5
9
6
3
3
G5
home?
1
8
5
1
3
5 5
1/2
10
3 3
5
1
5 1
5
6
3
3
5
6
5
5
1 5 5
P.M.
1/2
3
5
3
3 1/2 hold bend
3
5
1/2
pret - ty.
home?
3
C5
1/2
5 5
3
down,
are
3 3
1
3
5
5
2
5
G5
take
1/4
5
Take
20
3
P.M.
3
Oh,
the Par - a - dise
1/2 1 P.M. 1
down
10
8
9
10
9
8
1
10
8
8
10
8
10
10
I
wan - na
C5
see,
10
8
9
F5
10
8
9
10
8
9
Oh,
how
good
it
can be.
3
6
3 1
10
8
9
10
won’t
you
8va
3
8
10
11
10
11 10
8
10
10
8
10 11 10
C5
8
10 11 10 11 13
10
please
take
me
6
6
3
1
10
12
G5
10
13
12
15
12
13
15
12
15
17
13
15
17
13
17
19
15
18
15
15
18
18
15
15
18
15
18
18
15
15
19
18
6
3
15
15
home? 8va
18
18 18
17
18 15
15
17
17
14
loco
6
12
14
15
12
13
15
12
13
15
13
12
15
13
12
15
13
12
15
13
12
15
13
12
15
13
12
15
14
12
15
21
C5
7
14
12
15
7
14
12
15
14
12
15
12
14
15
14
F5
13
G5
12
15
14
12
6
14
15
C5
P.M.
10
10 11
12
13
15
13
15
11
16
17
10
11
15
16
17
15
16
I
wan
15
17
16
17
17
15
11
10
16
15
17
16
17
17
15
16
15
17
15
18
16
18
15
16
-
16
13
1
15
10
3
6
11
12
na
see,
10
8
P.M.
12
8
C5
how
22
8
9
10
8
good
it
can
be.
8
9
10
10
9
10
8
9
P.M.
8
10
oh,
9
10
8
9
6
8
8
10
10
8
3
10
10
10
9
10
10
8
8
10
10
8
8
8
8
8
9
3
8
9
10
8
9
9
10
10
F5
C5
Oh,
come
8
10
8
down
12
F5
12
won’t
you
10
10
grass
is
green
and the girls
C5
8
10
15
12
14
14
C5
8
10
12
14
are
14
14
14
12
pret - ty.
12
12
14
14
12
12
14
12
G5
please
take
me
home?
10
1
12
3
1 hold bend
14
14
14
1
12 15
1
8
Cit - y, where the
14
Oh,
10
1
8
to the Par - a - dise
grad. bend
8
10
me
home.
1/2
Take
9
me
8
take
G5
12
14
I
wan
14
12 14
14
1/2
13 15
14
-
na
go,
5
13 15 14
1/2
1/2
13 15 14
13 15 14
1/2
13 15 14
1/2
1/2
13 15
13
14
14
6
6 3
1/2
13
15
13
1/2
13 14
15
13
1/2
13 14
15
13
1/2
13 14
15
13
1/2
13 14
15
13
1/2
13 14
15
13 14
23
I
wan
-
na
go.
5
6 3
13
15
1/2
13
13
15
13
14
F5 poco rit.
Oh,
Gtr. 4
1/2
13
15
13
14
13
won't
15
you
please
take
me
6
3
3
Gtr. 3
poco rit.
6 5 3 3
13 12
14
12 13 12
14 12
14
14 12
14 12 14 12
0 0
5 5 3
0 0 0
3
3
13
15
14
12
0 0 X 3
1/4
3
13
6 3
Gtr. 2
poco rit.
15
home?
1
12
13
1/4
Free time G5
16 15 13 15 13 12 13
13
1/2
14
C5
1/2
14
poco rit.
24
6
1/2
C5
3
11 10
P.M. 1/2
1/4
10 8
10
10
8
10
9
10
8
10 8
10
Yeah,
P.M.
P.M.
0 0 3
8
6 8 6
7
ba
-
by.
grad. bend
1/2
9 8
μ
G
8
1/2
8
10
3 3 3
12 12
10
15 12 12
13 12 12
12 12 12
13 12 12
12 12 12
12 12
12 12
10
0 0 0 0 X 3
fdbk.
3 Pitch: F
25
from Guns N’ Roses - Lies
Patience Words and Music by W. Axl Rose, Slash, Izzy Stradlin’, Duff McKagan and Steven Adler C/G
G
342 1
21
A5
34
D/A
1144
C
132
Em
32 1
D
23
Dsus4
132
DsusÊ
134
F
3
1342
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately fast q = 121 μ
**C/G *Gtr. 2 (acous.)
Spoken: One,
two,
Gtr. 1 (acous.)
X X X
one,
two,
three,
four.
mf
X X X
X X X
X X
X
let ring throughout
X X
2 3
0 1 0
0
2
1
0 2 3
1
*Two gtrs. arr. for one. **See top of page for chord diagrams pertaining to rhythm slashes.
G
mf
0 0 2
1 0
0
0
***Whistled
3 0
1
0 2
0 0 2 3
1
1 0 2
0 0 0
0 2 3
0
0 0
0
2
2 0
0
2
2 0
0 0
2
0
0 2 3
0 2
0 0 0
D/A
2
2 2 2
3 2
2
2 2
0 0
2 3
***Next 22 meas.
A5
2 2
0 0
2 3 2 0
2
2 2
2
3
3 2 0
2
3
3 2
Copyright © 1988 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
1
C/G
*Gtr. 3 (acous.)
8
10
12
3
1
(cont. in notation)
8
10
8
mf 7
5
8
10 12
10
*Two gtrs. arr. for one.
3 3 2
2
0 3
2 3 2
2 0
1
7
Gtr. 1
8
9
10
Gtr. 2
0
0
0
**Chord symbols reflect basic harmony.
2
0 2
0
0
3
2 3
1
9
1 0
2
0 0
2
0 0
2
2
0 0 0
3
0 0
1
0
5 2 2 0
2
3
w/ pick & fingers
2
12
13
12
13
2
10
0
10
2
A
0
3 3 0 0 2 3
1
2
0 0
3
8
10
2
1
10
2
Gtr. 3
0
0
** G
Gtr. 1
2
2 0
2
3 0
w/ pick & fingers
D
10
2 2 0
0 0
2
5 2 2 0
0
C
let ring throughout
7
3
2
7
0
0
0
3
0
2
3 3
2
0
7
5
7
5
3
2 0
3 2
0 0 0
2 0
3 2 0 0
4
C
Em
0 3
2 3 2
0 0 0
2
0
2
0
0
0
2
0
0 0
7
9
2 2
Gtr. 2
G
(cont. in slashes)
*Gtrs. 1&3
3
8
11
14
(cont. in slashes)
14
3
2
0
1
0
0
2 3
2
0
2
2
0 0 0 2
0 0 2
1 0 0
*Composite arrangement
3
C
3
2
0
1
0
2
3
0
0
0
2
0
2
2
*
2
3 2 0
3 0 0 0
0
(cont. in notation)
2 3
D/A
G
0 0 0 *Release fretted notes; don’t pick.
Verse C
1. Shed a tear
Gtr. 2
3
2
0
1
0 3
Gtr. 1
3
’cause I’m
2
3
3
2
miss - in’
0 3
3
4
you,
2
0
1
0
2
3
0
1
3 0
0
2
1
0 2
G/A
G
I’m still al - right
Riff A
Gtr. 3
G/B
0
0
2
3
0
2
0
0 0
3
2
3
0 0
0
0
3
0
0
2
0 3
0 0 2 3
smile.
3
3
2
2
to
0
0
0 2
2
0 0
A
Girl, I think
5 0
you
2
0
0
0
2
0
day
0 0
2
Was a time
was - n’t
2
0
1
2
3
3
3
2
0
1
0 3
1
3
3
2
3
2
0
1
set my mind
0 0
1
0
1
0 2
3
0
2
0
3
0
0 3
2
0
3 2
0
5
7
9
7
7
G
9
7
9
0 0 0
0
ease.
3
3
3
0
0
3
0
2
2 3
1 0 0
0
2
3
3
3
0 3
at
0
2
0
2
3 3
2
0
G/A
2
2 3
1
3
2
but you
0 0
2
5
sure
3
G/B
2
4
0
0
4
1
3
when I
3
0
3
2
3
0
C
4
3
now.
0
2 2
0
3
5
2
D
0
0
ev - ’ry
2
3
5 2
2 0 0
5
2
2
a - bout
0
0 0
2
0
0
2
0
0 2 3
5
A
There is
5
0
2
2
2
2
2
doubt
in
heart
2
2
2
0
5
no
2
you’re
2 0
5
2
2
2
*Gtrs. 1&3
3
Said,
“Wom - an,
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
*Composite arrangement
6
0
2
3
0
2
3
3
2
2
0 3
0
3
0
3
5
4
2
2
2 0
0 3
2
0
2
slow.
It - ’ll
0 0 2 3
0 0 2 3
3
3
3
0
0
work
3 3
2 2 0
0 3
2
3 2 0
2 0
0 0
End Riff A
(cont. in slashes)
5
C
take it
Gtr. 2
4
G
2
0
Rhy. Fig. 1
now.
0
Chorus C
3
2
0
2
(cont. in slashes)
3 2
2
2
my
D
7
7
Em
it - self
fine.
out
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 0 2
3
2
0
0
0
0
2
0
G
All
we
need
is
0
2
3
2
3
a
lit
-
tle
2 3
2
0
0
2
0
pa
-
2
DsusÊ
D
tience.”
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
2 3 2 0 0
0
D
End Rhy. Fig. 1
0
3
just
Dsus4
D
C
3 3 2
2 0
2 0
2 3 2
0 3 2
2 0
2 0 0
2 3 2
0 0 0
3 2 0
Gtrs. 1 & 3: w/ Rhy. Fig. 1 (1st 6 meas.)
C
0 1 0 2 3
0
0 1 0 2 3
Em
0
0
0 2 2
it
slow
0
2
3
C
0
C
and we’ll
come
to - geth
-
er
fine.
3
2
0
1
G
make
3
“Sug - ar,
Said,
0 2
0
0
All
we
need
0
0 3
2
1 0
0
0
0
2
3
G
is
just
a
1 0
2
lit
0
0 0 2 3
0
2
-
tle
2
2
3 0
pa -
0 0
0
7
D
- tience.”
Whispered: Pa
Gtr. 3
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
-
tience.
5 6 7
Rhy. Fig, 2 *Gtrs. 1&2
2 3 2 0
0 3
3 2 0 0
2 3
2
3 3
2 3 2 0 0
3 2 0
3 2
2 3
2 0
0 3 2
2 3 2
2 0
2 3 2
0 0
2 3 2
0 3
2 3 2
3 2 0
3 3
2 0
2 3
0 3 0
0 3 0
2 2 0 0
2 3 2
0 3 0 0
3 2 0
3 0 0
3 0 0
*Composite arrangement
Oo,
10 11 12
10 10
15 14 16
8 7 9
2 3 2 0
2 3 2 0
2 3 2 0
8
yeah.
0 3 0 0
2 3 2
2 0
3 3
0 3 0
2 3 2 0
2 3 2 0
2 0
0 3 0
2 3
3 0 0
3 0 0
3 0 0
14 14
2 3
14
2 0
2 3 2
2 0
3 3 2
14 14
0 3 0 0
14 14
14 14
End Rhy. Fig. 2
2 3 2
2 0
0 3 0
0 3 0
2 3 2
2 0
0 0
0 0
Verse Gtr. 3: w/ Riff A
C
2. I
sit
here
0 1 0 2 3
2 3
2 3
A7
have
5
5
0
2
2
1 2 3
0
5
0
0
1
0
2
0
7
5
0
2 0
0
0
0
0
0 5
2
0
0
3
4
0
0
1 0
0
0
0
0
0
0 2
2
0
3
3
0 2
2 3
3
dear.
5
7
0
0
2
4
0
2
0 0
0
2
0
2
If
3
0
a - lone.
wait,
2
be
0 2
I’ll
0
rath - er
G
D
5
0 0
5
3 2
5
G/A
’cause I’d
now,
0 5
2
0
right
2
3 0
you
5
2 0
0
5
2 3
stairs
0 1 0
I can’t
0 1 0
the
4
Gtr. 1
on
Gtr. 2
G/B
4
7
7
9
0
0
9
7
9
7
9
0
3 3
3
7
2
2 3
0 3 2
2 3
2 4
0 0 0
9
C
Some - times
I
get
G/B
so
tense
but
I
5
5
5
0
5
5
0
0
1
0
1
0
3
A7
you know,
3
0 5
1
2
7
10
7
2
0
7
2
0
2
0
2
7
5 7
0
5
0
0 0
7
2 2
0
2
2
0
5
0
3 5
3
0
0 5
2 3
1 0 0 2 3
0 0 2 3
3 0
2
2
0 0
2 0
0
7 7
0
2
2
0
But
er.
7 7
3 2
0
6
0
0
5
time.
3
0
D
5
thing
3
2
-
0
more
the
3
5
0
0
one
0
0 2 3
up
0 0
G
speed
3
0
2
there’s
5
0
5
0
to con - sid
5
love,
0 3
can’t
5
G/A
3
2
2 3
0
7
7 5
7
3
0
4
0
0
0
2
3 3
2 2 0
0 3
3 2 0 0
0 0
0
Chorus Gtrs. 1 & 3: w/ Rhy. Fig. 1 (1 3/4 times)
C
G
Said,
“Wom - an,
take it
slow
1
1
0
2 3
3 0
0
0
3
You and
I’ll
use
just
a
lit
-
0
2
C
0
2
Said,
0
3
0 3
“Sug - ar,
0 1 0 2 3
0 1 0 2 3
0
Em
0
2
2
1
0
0
0
2
2
0
0
-
0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
You
and
3
2
0
1
0
2
0
2 2
0
1 2
0
2 3 2 0
2 3 2 0
0 3 2
3
2 3 2
0 0
3 3 2
C
’cause the
lights
0 0
0
2
2
3
2 3 2
0 3 2
0 0
0 0
2 3 2
0 0 0
0 0
are
bright.
shin
-
ing
1
0
2 3
2
what
it
takes
to
make
G
3
got
0 0
0
0
I’ve
time
fine.
3
the
tience.”
3 3 0
0
0
C
pa
2
take
tle
G
1
D
3 3 0
0
just
3
3 3
0
Em
G
will be
0
0 0
0
things
3
C
0
2
and
Gtr. 2
C
0 3
2
0
0
0
2
3
0 0
11
it.”
Gtr. 3
2 3 2 0
2 3 2 0
2 3 2 0
break
10 11 12
2 3 2 0
12
We won’t
Gtr. 2
it
10
10
fake
2 3 2 0 0
2 3 2 0
2 3 2 0 0
0 0
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
2 3 2 0
can’t
take
it.
10
3 3 0 0
3 3 0 0
3 3 0 0
3 3 0 0
2 3 2 0
14
I’ll nev - er
5 6 7
11
2 1 2 0
Ah,
it.
’cause I
Gtr. 1: w/ Rhy. Fig. 2
D
13
12
0 0 0 0
0 0 0 0
0 0 0 0
Guitar Solo Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1 3/4 times)
C
13
13
Gtr. 3
15
13
C
13
13
15
16
14
13
C
3
12
14
12
3
1
12
15
17
12
12
3
C
Em
13
13
17
0
13
D
15
15
13
12
2
2
0
3
0
12
15
15
Em
15
3
1
1 hold bend
3
14
12
15
1/2
2
15
C
1
3
13
12
G
1 hold bend
3
G
0
14
16
16
14
G
3 3
3
1
3
3
5
5
5
3
5
3
5
Gtrs. 1 & 2: w/ Rhy. Fig. 2 (1st 6 meas.)
C
5
3
5
5
3
5
3
5
5
D
1
1 5
G
3
5
3
5
7
5
5
*Whistled
1/2 2 3
5
3
4
2
3
4
2
2
2 4
0
2
3
4
0
*Next 3 meas.
13
rit. poco a poco
Gtr. 3
rit. poco a poco 1/2
2 3 2 0
0 3 0 0
3 2 0
3 3 2 0
2 3 2
0 3 0
2 3 2
rit. poco a poco
2 3 2 0 0
*Gtrs. 1&2
2
2
*Composite arrangement
Outro Faster q = 127 Gtr. 1 tacet
D
Gtr. 3
G
steady gliss.
3 3 4
Rhy. Fig. 3
Gtr. 2
**T
2 3 2 0 0
3 2 0 0 2
0 0 0
T
2 0 0 2
2 3 2 0 0 2
3 2 0
0 0 0 0
0 0 2 3
0 0
0 0 2 3
3 3 0 0 2 3
0 0
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 0 0
3 0 0
**T = Thumb on 6th string
10 10 11 0
14
G
Gtr. 3
Gtr. 2: w/ Rhy. Fig. 3 (5 times)
D
14 15 14
End Rhy. Fig. 3
0 0 0 0
D/A
G
Rhy. Fig. 4 Gtr. 1
(Lit - tle
pa
-
tience.
End Rhy. Fig. 4
Mm,
w/ pick & fingers
14
14
12
12
10
10
8
7
7
7
5
5
3
3
3
3
3
3
14
14
12
12
11
11
9
7
7
7
5
5
4
4
4
4
4
4
12
Gtr. 1: w/ Rhy. Fig. 4 (3 times)
D
G
yeah,
2 3 2
2
3 3 2
2
3
3
7
3
2 3 2
tience,
5 3 2
3 3 2
2 3 2
0
Need a
3
3
5
3
0
0 0
2
G
8
7
9
7
3 0
0 2
3 0
9
7
8
10
8
7
8
8
7
7
7
lit - tle
pa -
0 2
10
8
0
Just a
w/ pick & fingers
yeah.
yeah.
Oo,
2
yeah.
D
-
lit - tle
pa -
5
5
3
3
15
D
-
tience,
G
yeah.
Some more
6
5
7
8
6
7
10
8 3
5
8
10
pa -
10
12
5
7
Bridge Gtr. 1: w/ Rhy. Fig. 4 (4 times) Gtr. 2: w/ Rhy. Fig. 3 (4 times)
D
-
I’ve been walk - in’
the
streets
at
tience.
G
night
just
try - in’
to
get
yeah.
12
14
12
11
12
11
7
10
it
Need some
7
7
7
16
pa
It’s
hard
to
see
with
so
man - y
right.
D
-
tience,
7
a - round,
9
you
yeah.
4
7
4
5
4
2
2 0
2
2
5
9
5 0
4 0
2 0
2 0
4
4
4 0
0
2
0
0
G
know
I
don’t
like
be - in’
stuck
in
the
crowd.
Just
D
And
the
streets
give
me some
pa
don’t
-
change,
but
tience,
5
3
5
3
3
3
5
5
may - be
the
G
name.
I
ain’t
got
time
for
yeah.
5
3
3
5
5
3
5
5
3
yeah,
well, I
pa - tience,
5
5
3
game
5
5
3
G
need
you.
5
5
2
3
2
6
7
5
6
7
5
3
4
5
3
3
3
0
3
’cause
I
have
some
3
5
5
need
Oo,
I
the
yeah.
3
Yeah,
3
3
you.
D
Got - ta
5
0
0
All it takes
is
3
0
3
3
need
pa -
0
0
17
F
G
you.
Wha,
-
Just a
3
2
3
3
2
rit.
3
D
rit.
3
need
lit - tle
pa
-
0 3
3
3
3
3
0 5
5
tience.
5
3
open
3
3
3 4
3
is
it
all
3
3
3
3
3
0 3 4
D
3
this
Freely D
oo,
2
(Gtr. 2, cont. in notation)
you,
tience.
3
I
Gtr. 1
C
Gtrs. 1&2
time.
rit.
takes.)
rit.
3 2 0 0 2
0 0 2 3
0 0
9
15 14 12
3
2 3 2 0 0
2
3
2
0
4
0 0
3 2 0 0 2
T
2 3
2 3 2 0 0
rit.
18
12 12 12
7
Gtr. 2
Harm.
5
Gtr. 3
0
14
3
4
3
from Rihanna - Rated R
Rockstar 101 Words and Music by Terius Nash, Christopher Stewart and Robyn Fenty
Intro Slow q = 70 Gtr. 1 tacet
μ
F#5
I told ya,
Gtr. 1 (dist.)
*Gtr. 2
4 4 2
4 2
Uh,
uh,
I told you, ba - by.
4 2
uh,
I
told you, ba - by.
Uh,
oh,
uh,
I
oh.
Uh,
uh,
I told
Uh,
oh.)
oh.
Uh,
you, ba - by.
Uh, oh,
told you, ba - by.
uh,
I
told you.
Uh,
I told you, ba - by.
Uh, oh.
ba - by.
mf
(Uh, oh.
mf
Uh,
I told ya, ba - by,
*Synth arr. for gtr.
Gtr. 2 tacet
I told ya,
© 2009 WB MUSIC CORP., 2082 MUSIC PUBLISHING, RZE MUSIC PUBLISHING, EMI BLACKWOOD MUSIC INC. and ANNARHI MUSIC LLC All Rights for 2082 MUSIC PUBLISHING Administered by WB MUSIC CORP. All Rights for RZE MUSIC PUBLISHING Controlled and Administered by UNIVERSAL MUSIC CORP. All Rights for EMI BLACKWOOD MUSIC INC. and ANNARHI MUSIC LLC Administered by SONY/ATV MUSIC PUBLISHING LLC, 8 Music Square West, Nashville, TN 37203 All Rights Reserved Used by Permission
1
Verse
F#5
(Ah,
post - ed in the back, big shit talk - er.
1. Got up in the club, 2. Six inch walk - er,
C#5
I
rock - in’ this club, dis - o - beyed the law.
got my Make
look - in’ so I’d rath - er be
bad. a stalk - er.
So,
3
mid - dle fin - ger up, sure you frisk me good,
I don’t real - ly give a fuck. check my pan - ties and my bra.
ah,
ah,
4
Rock - in’ this skirt, ba - by, take me in.
ah,
2
F#5
ah,
feel - in’ so good, nev - er played a vic - tim,
I
Gtr. 2
C5
ah,
2
A5
Rock - in’ these di -’monds, I’m a, rock - in’ this chain. Wild - in’ out a cra - zy house
Make with my
E5
sure you get a pic - ture. I’m a, rock - in’ my fame. white jack - et on. Won’t you come and sign me out?
ah.)
2
2
0
0
To
F#5
be
what you is, you got - ta
be
what you are.
On - ly thing I’m miss - in’ is
a black
gui
-
5
Chorus F#5
rock
star.
Hey, ba
-
by, I’m
a
Riff A
rock
star.
Hey, ba
F#5
Big
cit - y,
bright
(Big
cit - y,
lights,
sleep
all
bright
lights,
I’m a
17
4
C5
2
C#5
tar.
2
-
by.
3
day,
long
night.
sleep all
Ba - by, I’m
a
day,
uh, oh.)
End Riff A
2
P.M.
2
2
2
2
2
2
2
2
3
Gtr. 2: w/ Riff A
rock
star.
C#5
Hey, ba
-
by, I’m
C5
a
rock
star.
Hey, ba
-
by, it’s
1.
To Coda
F#5
big
cit - ies,
bright
(Big
cit - y
lights,
sleep
all
bright
lights,
day,
nights.
Ba - by, I’m
a...
all
long
day.)
Interlude
F#5
Oh,
Gtr. 2
G#5
ba - by, I’m
a...
Riff B
2
Oh,
A5
ba - by, I’m
a...
Oh,
4
5
D#5
ba - by, I’m
a...
Oh,
ba - by, I’m
a...
End Riff B
6
2.
F#5
G#5
Oh, ba - by, I’m a...
A5
Oh, ba - by, I’m a...
D#5
Oh, ba - by, I’m a...
Hey, ay, ay.
all day,
long nights. Ba - by, I’m a...
all day.)
2
4
4
5
6
Gtr. 1
2
w/ bar
18
19
Interlude Gtr. 2: w/ Riff B
F#5
G#5
Oh,
ba - by, I’m
a...
7
F#5
Oh,
Gtr. 1
9
ba - by, I’m
a...
Oh,
ba - by, I’m
a...
10
Oh,
A5
ba - by, I’m a...
Oh,
ba - by, I’m a...
ba - by, I’m
a...
grad. bend 1/2
12
B5
Oh,
C5
Hey,
ay,
ay.
1
1
12
12
D#5
G#5
ba - by, I’m a...
Oh,
A5
12
Gtr. 2
2
4
5
2
3
Bridge Gtr. 1 tacet
F5
Hey,
I’m
rock - in’ out
to - night
Gtr. 3 (clean)
A5
’cause
I
can’t
wait ’til
to - mor -
mf 13
13
13
13
13
13
13
13
13
13
13
13
13
13
13
13
12
12
12
12
12
12
12
12
8
8
8
8
8
8
8
8
Gtr. 2
1
5
5
F5
A5
-
row.
I’m, ah, live my whole
the
night
’cause I ain’t got
12
13
13
13
13
13
13
13
13
13
13
13
13
13
13
13
12
12
12
12
12
12
12
8
1
5
3
F5
A5
G5
1
I’m
to - night.
row.
rock - in’ out
13
13
13
13
13
13
13
13
13
13
13
13
15
15
15
8
8
time
13
6
6
in
-
life
G5
to bor -
8
5
5
Why
wait ’til
to - mor -
12
12
12
12
12
12
12
12
8
5
3
8
8
8
8
8
8
8
D.S. al Coda (take 1st ending) Gtr. 3 tacet
F5
-
row?
A5
I’m, ah, live my whole life in the
G5
night.
I’m a
13 13 13 13 13 13 13 13 13
12 12 12 12 12 12 12 12
13 13 13 13 13
F#5
13
1
8
5
3
8
8
8
8
8
8
8
2
Coda Outro Gtr. 2: w/ Riff B (2 times)
F#5
G#5
Oh,
ba - by, I’m a...
Gtr. 1
7
F#5
Oh,
9
ba - by, I’m a...
9
12
A5
Oh,
ba - by, I’m a...
9
10
A5
ba - by, I’m a...
Oh,
12
14
Oh,
G#5
Oh,
D#5
ba - by, I’m a...
ba - by, I’m a...
Oh,
ba - by, I’m a...
12
D#5
F#5
μ
Hey, ay,
ay.
4 4 2
7
from Velvet Revolver - Contraband
Set Me Free Words and Music by Scott Weiland, Duff McKagan, Matt Sorum, Dave Kushner and Slash D5
Bb5
C5
G5
F5
F5
I
8fr 1
13
Intro Moderately fast q = 164 μ
Gtr. 1 (dist.)
13
13
134
13
Riff A
f
X X X
X X X
X X X
X X X
X X X
11 X 8
8 X 5
8 X 5
10 7
9 X 6
8 X 5
9 X 6
8 X 5
11 X 8
10 X 7
10
8 X 5
7 X X
Gtr. 1: w/ Riff A (1 1/2 times)
Gtr. 1
8 5
8 X 5
9 X 6
8 X 5
Gtr. 2 (dist.)
8 X 5
9 X 6
11 X 8
10 X 7
*A5
End Riff A
7
2 0
14
8 X 5
10
f
Gtr. 3 (dist.)
f
2 0
2 0
2 0
*Chord symbols reflect basic harmony.
**Gtrs. 2 & 3
2 0
2 0
2 0
**Composite arrangement
Copyright © 2004 Chrysalis Music, Ready Set Go Publishing, Pimp Music, DracSorum Music, DTK Music and Slash And Cash Publishing All Rights for Ready Set Go Publishing, Pimp Music, DracSorum Music and DTK Music Administered by Chrysalis Music Group, Inc., a BMG Chrysalis company All Rights for Slash And Cash Publishing Administered by WB Music Corp. All Rights Reserved Used by Permission
1
Gtr. 1 tacet
C
Gtr. 1
Riff B
8 5
9 X 6
8 X 5
8 X 5
11 X 8
10 X 7
9 X 6
8 X 5
A5
7
5 5
2 0
0
C
C#
G5
0
5 5
6 6
6 6
A5
0
5 5
6 6
6 6
7 7
5
5
G#5
3
3
A5
4
6 6
7 7
7 7
4
5
5
3
7 7
4
5
5
7 7
7 7
7 7
3
4
5
6
5
5
C#
3
5
G5
5 5
5 5
6
5
C#
5 5
Rhy. Fig. 2
3
5 5
6 6
6 6
0
5 5
5 5
6 6
G5
6 6
5 5
4
4
3
5
5 5
3
4
5 5
End Riff C
0
5
3
7 7
0
5
3
5
5 5
5
4
5 5
3
6 6
C
8 8
C
6
4
4
End Rhy. Fig. 1
5
3
3
0
0
5
4
4
8 8
7 7
6 6
3
7 7
Gtr. 2
6 6
5
7 7
5 5
5 5
15
5
8 8
7 7
5 5
Riff C
Gtr. 3
5 5
6 6
G#5
6 6
2 0
5 5
0
Gtr. 2
2
G#5
Rhy. Fig. 1
G5
10
Gtr. 3
C#
End Riff B
3
5
G#5
3
3
4
4
3
3
A5
End Rhy. Fig. 2
6 6
6 6
7 7
4
4
5
7 7
8 8
7 7
5 5
7 7
6
5
3
5
Verse
A5
μ
1. You op - er - ate and mo - ti - vate on
syn - thet - ic
fuel.
You’re Moth - er
Na - ture and an
at
-
om
bomb.
7 7
5
5
A5
As long as you’re kept Gtr. 1
full
of pret - ty
bod - ies,
your lit - tle
se - cret will be
safe
with me.
11 X 8 X X Gtr. 3
10 7
8 X 5
X X
Gtr. 2 divisi
0 5
15
Pre-Chorus
Gtr. 1: w/ Riff A (1 1/2 times) Gtr. 2: w/ Riff C (1 1/2 times) Gtr. 3: w/ Rhy. Fig. 1 (1 1/2 times)
C
(Ah.)
C#
G5
G#5
A5
C
C#
G5
G#5
A5
3
T o Coda
Gtr. 1: w/ Riff B
C
C#
G5
G#5
A - round
a - gain,
A5
in - sane
a - gain,
C#
she it
comes
5 5 0
So
set
Rhy. Fig. 3 Gtrs. 2 & 3
me
free,
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
Bb
Set me
free,
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
0 0
set
3 3 3 1
5 5
6 6
3
4
C
me
free
3 3 3 1
3 3 3 1
3 3 3 1
3 3 3 1
5 5 5 3
F5
set me
A5
D
and
sets
me
free.
6 6
5 5
5 5
6 6
6 6
7 7
8 8
7 7
4
3
3
’cause
4
G5
I
think
5 5 5 3
5 5 5 3
4
5
6
5
2 3 2 0
0
D
you
3 3 0 0 X 3
5 5 5 3
5
2 3 2 0
7 7
need
my
0 X 3
3 3 0 0 X 3
3 3 0 0 2 3
soul.
End Rhy. Fig. 3
2 3 2 0
E5
A5
free.
3 3 3 1
3 3 3 1
3 3 3 1
3 3 3 1
3
5
a - gain
3 3 3 1
G#5
Gtr. 2
Bb
0
5
Chorus D
G5
Gtr. 3
C
0
10 10 8
*
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
9 9 7
9 9 7
9 9 7
0 5
*Gtr. 2 plays A on 6th string, Gtr. 3 plays A on 6th string.
4
Interlude Gtr. 2: w/ Riff C Gtr. 3: w/ Rhy. Fig. 2
A5
C
Verse A5
μ
G5
G#5
2. You’re kept Gtr. 3
C#
A5
a - live and po - lar - ized with one
C
thing
C#
G5
G#5
in
mind.
Me - tab - o - liz - in’ ev - ’ry
A5
- thing
that
you
see.
7 7 Gtr. 2
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
5
D.S. al Coda
But now and then
Gtr. 1
or
now
a
lit - tle
lat - er,
I’m gon - na take
you
down
with
me.
A5
11 X 8
8 X 5
10 7
8v a
Gtr. 3
loco
20 20 20 0
17 Gtr. 2
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X
X X X 5
5
Coda
Chorus Gtr. 2: w/ Rhy. Fig. 2
D
So
set me
2 3 2 0
2 3 2 0
5 7 7
6 6 7
5 7 7
5 7 7
5 7 7
5 7 7
G
set me
6 6 7
6 6 7
6 6 7
6 6 7
think
8 8 9
8 8 9
C
you
need
my
soul.
5 7 7
7 8 7
7 8 7
7 8 7
7 8 7
8 8 9
8 8 9
8 8 9
D
D
free.
End Rhy. Fig. 4
’cause I
8 8 9
6 6 7
6 6 7
6 6 7
6 6 7
free,
6 6 7
6 6 7
Gtr. 3
free
G5
Bb
Set me
set me
6 6 7
2 3 2 0
C
free,
Rhy. Fig. 4
Gtr. 3
2 3 2 0
Bb
7 8 7
7 8 7
7 8 7
7 8 7 0
7 8 7 0
7 8 7 0
8 8 9
8 8 9
8 8 9
8 8 9
8 8 9
8 8 9
0 0
0 Rhy. Fig. 5
2 3 2 0
2 3 2 0
2 3 2 0
Gtr. 2
2 3 2 0
3 3 3 1
3 3 3 1
3 3 3 1
3 3 3 1
3 3 3 1
3 3 0 0 X 3
0
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
0
2 3 2 0
End Rhy. Fig. 5
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
5 5 5 3
0 0
2 3 2 0
Gtr. 2: w/ Rhy. Fig. 3
So
2 3 2 0
2 3 2 0
Gtr. 3
6
set
me
Bb
free,
2 3 2 0
2 3 2 0
6 6 7
C
me
6 6 7
8 8 9
8 8 9
set
6 6 7
6 6 7
6 6 7
free
G5
8 8 9
7 8 7 0
’cause
8 8 9
8 8 9
I
think
D
my
7 8 7 0
7 8 7 0
7 8 7 0
2 3 2 0
you
need
soul.
Bb
Set me
Gtr. 3
2 3 2 0
Gtr. 2
free,
0
0
7 0
7 0
0
2 3 2 0
2 0
2 0
set me
6 6 7
3 3 3 1
3 2 0
3 2 0
6 6 7
F5
6 6 7
6 6 7
free.
6 6 7
F
3 3 3 1
3 3 3 1
3 3 3 1
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
0
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
3 1
15
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
1 1 2 3 3 1
10 10 8
Bridge
F
So
take
E
me
down,
let ring
1 1 2 3 3 1
3 1
3 1
0 0
1 1 3 1
3 1
1 1 3 1
3 1
2 0
0 0 X 2 2 0
2 0
take
me
0 0
0
let ring
1 2 2 0
0 0
3 3 0 0 X 3
0
0 0
G5
3 3 0 0 X 3
down,
down,
F
down,
down.
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
let ring
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
1 1 2 3 3 1
3 3 0 0 X 3
3 3 0 0 X 3
3 3 0 0 X 3
0
2 3 3 1
7
E
Take
Gtr. 1
me
down,
A5
take
me
down.
A
3 3 3
8
5
1/2
8
5
let ring
2 3 3 1
1 1
2 3 3
Gtr. 2
1 1 2 3 3 1
let ring
2 3 3 1
2 3 3 1
1 2 2 0
1 1 2 3 3 1
1 1 2 3 3 1
0 0 1 2 2 0
0 0
5
7
5
7
3
let ring
0 0 1
5
3
5
3
2 0
1 2 2 0
7
5
let ring
0 1 2 2
1 2 2 0
0
5
7
7
1
Gtr. 3
F
2
2 0
2
2 0
3
1 1 2 3 3 1
2 0
Gtr. 1 tacet
So
take
E5
me
down,
Gtr. 3
3
Gtr. 2
1 1 2 3 3 1
8
5
3
3
5
3
let ring
0 0 X 2 2 0
take
5
2
0
2
2
me
5
0
G5
0
2
3 3 0 0 X 3
down,
5
5
D/F#
7
0 X 3
5
5
7
3
down,
5
4
3 2 0 X 2
4
down,
3
F
7
4
4
down.
7
4
3
2 0 X 2
1 1 2 3 3 1
E5
Take
Gtr. 1
me
down,
take
A5
me
down.
G5
X X X
Gtr. 3
3
3
5
3
3
5
2
Gtr. 2
3
1 1 2 3 3 1
0 0 X 2 2 0
2
5
2
2
5
7
7
5
7
7
5
7
X X X
11 X 8
8 X 5
10 7
7
A5
5
7
7
7
7
8 X 5
8 X 5
8 X 5
10 X 7
0
0
1
2
2
0
0
0
0
5 3
5 3
5 3
7 5
Interlude Gtr. 1: w/ Riff A (2 times)
A5
Gtr. 3
μ
A5
10 2 0
7
Gtr. 2
7 5
15
2 0
9
Gtrs. 2 & 3
2 0
2 0
Guitar Solo A5
C5
2 2 0
17
A5
Gtr. 1
*w/ octaver
8 5
8 X 5
8 X 5
8 X 5
8 X 5
8 X 5
X X
8 X 5
10
10 X 7
7
10 X 7
8 X 5
8 X 5
10 X 7
8 X 5
8 X 5
8 X 5
8 X 5
8 X 5
8 X 5
8 X 5
5 5 2
8 X 5
8 X 5
7 7
*Set for one octave below. Rhy. Fig. 6 Gtrs. 2 & 3
End Rhy. Fig. 6
1/2
2 2 0
2 2 0
0
2 2 0
0
0
0
Gtrs. 2 & 3: w/ Rhy. Fig. 6 (2 1/2 times)
Gtr. 1
1/2
7 7
2 2 0
2 2 0
2 2 0
0
5 5 3
C5
1/2
5 5
7 7
7
5 5
7 7
5 5
7 7
5
7 7
5 5
7
2 2 0
2 2 0
5 5 3
5 5 3
5 5
A5
0
0
2 2 0
0
1
0
7 7
7 7
2 2 0
0
0
2 2 0
0 0
1
1
1
8
7
6
5
10
9
8
7
**
11
**Change octaver setting to 2 octaves below.
11
10
12
11
12
13
10
11 12
C5
12
11
12
13
A5
10
12
10
8v a
1/2 16
13
15
1
15
13
10
15
13 19
C5
8v a
Gtr. 1
1
19
1
20 19
19
20
20
19
17
17
19
17
A5
C5/A
1
20
Bm
1/2 19
Gtrs. 2 & 3
1 22
let ring 1/2
2 2 0
2 2 0
0
5 5
0
1
20
20
20
D
7 7 0
0
7 7
7 7
1/2
7 7
7 7
5 5
0
0 0
2 3 2 0
Chorus Gtr. 2: w/ Rhy. Fig. 3 Gtr. 3: w/ Rhy. Fig. 4
D
Gtr. 1 8v a
set
So
Gtr. 1 tacet
Bb
me
free,
set
me
C
free,
’cause
G5
I
think
you
need
my
D
soul.
22
Gtr. 2: w/ Rhy. Fig. 5
Bb
Set
me
free,
set
me
G
D
free.
7 8 7
7 8 7
Gtr. 3
C
0
7 8 7
7 8 7
8 8 9
8 8 9
8 8 9
8 8 9
0
0
7 X 5
11
Gtr. 2: w/ Rhy. Fig. 3
So
7 5
me
7 X 5
free,
set
10 X 8
Bb5
Set me
Bb
7 X 5
7 X 5
7 X 5
set
me
10 X 8
10 X 8
10 X 8
free,
C
free,
10 X 8
F5
set me
free.
12 X 10
12 X 10
12 X 10
12 X 10
2 0
Gtr. 1
2 0
3 1
3 1
3 1
3 1
you
need
D
my
soul.
7 X 5
7 X 5
7 X 5
7 X 5
7 X 5
7 X 5
7 7 5
7 X 5
D5
10 10 8
3 1
think
1
13 2 0
12 X 10
1
2 3 2 0
G5
’cause I
12 X 10
Gtr. 2
10 X 8
13
12
1
13
13
12
1/2
13
13
12
12
12
10
3 2 0
1
10 13
Gtr. 3
7 7 5
12
7 X 5
7 X 5
7 X 5
7 X 5
10 X 8
10 X 8
10 X 8
10 X 8
10 X 8
10 X 8
12 X 10
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
3
0
3 2 0
So
Gtr. 1
set
Bb5
me
set
me
free,
I
think
10
10
10
10
10
10
10
13
13
13
13
13
13
13
13
13
13
13
1
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
you
0 0
1
3 1
3 1
3 1
3 1
3 1
D5
my
soul.
C5
need
G5
10
’cause
10
free,
10
Gtrs. 2 & 3
10
C5
10 13
1
Set
5 3
0
Bb5
me
1
1
5 3
5 3
5 3
5 3
0
G5
set (Set
me me
1
free,
free free.)
1
10 10 13 13
5 3
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
13
13
13
13
13
13
13
13
13
13
13
13
13
13
13
5 3
5 5 3
5 5 3
0 0
2 0
2 0
2 0
3 2 0
3 2 0
0 0
3 1
3 1
3 1
3 1
0
5 3
13
C5
’cause Gtr. 1
I
think
1
D5
you
1
10 10 13 13
10
10
10
10 10
need
Gtr. 2
my
10
10
10
13
13
13
13
soul.
1
10
D5
So
set
1
Bb5
me
free,
10 10
10
1
10
10 10
13
10
10
12
Gtr. 4 (dist.)
mf
1
1
Gtrs. 2 & 3
5 3
5 3
5 3
5 3
5 3
5 3
5 5 5 3
5 3
C5
set
me
10
10
10
10
10
10
10
10
5 3
5 3
5 3
5 3
10
10 X 8
10 X 8
10 X 8
2 0
G5
’cause
I
10
10
10
10
10
Gtr. 3
0 0
7 X 5
7 X 5
think
you
need
10 X 8
7 X 5
D5
my
soul.
10
10
10
10
10
10
1
12
15
14
12 X 10
13
13
11
12
(Gtr. 2, cont. in slashes)
1
8
14
free,
11 13
10
1
12 14
12 X 10
12 X 10
12 X 10
7 X 5
10 12
7 X 5
7 X 5
7 X 5
7 X 5
7 X 5
7 X 5
Set me
free,
10
10
10
10
10
10
10
F5
F5 I
Bb5
(cont. in notation)
Bb5
set me
free.
10
10
13
10
My
cre - do,
13
1
10 12
12
7 5
7 X 5
7 X 5
7 X 5
11
11
13
13
7 X 5
7 X 5
10 X 8
12
12
10 X 8
10 X 8
10 X 8
10 X 8
12 X 10
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
10 10 8
0
3 1
3 1
3 1
3 1
Outro Gtrs. 1 & 4 tacet
F5
F5
my
cre - do,
Bb5
Gtrs. 2 & 3
3 0
1
let ring
3 1
3 1
3 1
3 0
1
let ring
3 1
3 1
3 0
1
let ring
3 1
3 1
3 1
3 1
3 1
3 1
3 1
3 1
3 1
3 1
15
Bb5
3 0
1
let ring
cre - do,
3 1
3 1
3 1
3 1
3 1
3 1
3 0
1
let ring
3 1
3 1
3 1
3 0
1
let ring
3 1
my
3 1
F5
3 1
3 0
1
let ring
3 1
3 1
3 0
1
let ring
3 1
3 1
Bb5
Bb5
A5
my
cre - do.
3 1
3 1
3 1
3 1
3 1
2 0
F5
my
cre - do,
3 1
3 1
3 1
3 1
3 1
3 1
Gtr. 3
pp
2 0 Gtr. 2
pp 1
2 0
16
3
3
from Velvet Revolver - Libertad
She Builds Quick Machines Words and Music by Scott Weiland, Duff McKagan, Matt Sorum, Dave Kushner and Slash F
G 5fr
7fr
132
132
Drop D tuning: (low to high) D-A-D-G-B-E
Intro Moderately q = 150
C5 D5
C5 D5
C5 D5
B5 D5
C5 D5
B5 F5
Rhy. Fig. 1 Gtr. 1 (dist.)
C5 D5
C5 D5
B5 D5
B5 F5 End Rhy. Fig. 1
mf
10 10 10
12 12 12
10 10 10
10 10 10
0 0
12 12 12
0 0
12 12 12
9 9 9
12 12 12
10 10 10
9 9 9
0 0
3 3
3 3
0
0
12 12 12
0 0
10 10 10
12 12 12
0 0
10 10 10
9 9 9
12 12 12
12 12 12
9 9 9
0 0
3 3
3 3
0
0
Gtr. 1: w/ Rhy. Fig. 1
C5 D5 Gtr. 2 (dist.)
C5 D5
C5 D5
B5 D5
B5 F5
C5 D5
C5 D5
C5 D5
B5 D5
B5 F5
mf
10
10 12
Gtr. 3 (dist.)
* pp
10 10 10
12 12 12
10 10 10
0 0
12 12 12
12 12 12
9 9 9
9 9 9
0 0
3 3
0
3 3
0
10 10 10
12 12 12
0 0
10 10 10
12 12 12
0 0
10 10 10
12 12 12
9 9 9
12 12 12
0 0
9 9 9
3 3
3 3
0
0
*Fade in
C5 D5
C5 D5
C5 D5
B5 D5
B5 F5
C5 D5
Rhy. Fig. 2 **Gtrs. 2 & 3
C5 D5
C5 D5
B5 D5
B5 F5 End Rhy. Fig. 2
f
1010
10 10 10
10
12 12 12
0 0
10 10 10
12 12 12
0 0
10 10 10
12 12 12
9 9 9
12 12 12
0 0
9 9 9
3 3
0
3 3
0
12 12 12
0 0
10 10 10
12 12 12
0 0
10 10 10
12 12 12
9 9 9
12 12 12
0 0
9 9 9
3 3
0
3 3
0
**Composite arrangement
Copyright © 2007 Chrysalis Music, Ready Set Go Publishing, Pimp Music, DracSorum Music, DTK Music and Slash And Cash Publishing All Rights for Ready Set Go Publishing, Pimp Music, DracSorum Music and DTK Music Administered by Chrysalis Music Group, Inc., a BMG Chrysalis company All Rights for Slash And Cash Publishing Administered by WB Music Corp. All Rights Reserved Used by Permission
1
Verse * C5 D5
C5 D5
C5 D5
B5 D5
1. Hold Riff A
Gtr. 2
lit - tle
10
C5 D5
fast,
B5 Dm
10
9
C5 D5
C5 D5
B5 D5
off.
Punch
12
B5 Dm
strong,
let
10
it
roam.
10
End Riff A
12
9
Riff A1
Gtr. 3
End Riff A1
P.M. 3
5
3
5
3
5
2
5
0
3
2
0
3
0
3
P.M.
5
3
5
3
5
2
5
0
3
2
0
3
0
*Chord symbols reflect implied harmony.
Gtr. 3: w/ Riff A1 (3 times)
C5 D5
C5 D5
C5
D5
B5
D5
Eyes Gtr. 2
Riff B
Dm
cold
B5
as
the
C5 D5
10
10
9
C5
D5
B5
snow.
D5
12
Dm
a
quick
built
B5
She
C5 D5
dream.
End Riff B
10
10
10
9
9
10
12
Gtr. 2: w/ Riff A
C5 D5
C5 D5
C5
D5
B5
Sis
C5 D5
C5 D5
C5
D5
-
B5
D5
ter
keep
D5
She’s Gtr. 2
Riff C
10
2
B5
Dm
her
B5
mo - tor
10
9
12
to
C5 D5
clean.
Dm
al - ways quick
C5 D5
C5
D5
B5
D5
Sol - id
C5 D5
C5 D5
C5
D5
B5
fight.
B5
Dm
vi - sions and
a
wet
D5
B5
ma - chine.
Dm
We’ll break her through to - night.
10
10
9
12
12
14
Pre-Chorus Half-time feel
A5
G5
C5
*
A5
pp I
can feel
it when you
push
Gtr. 2 tacet
G5
C5
straight
down.
Gtr. 2
End Riff C
14
Riff D Gtr. 4 (slight dist.)
End Riff D
mf
let ring throughout
3 Gtr. 3
0
2
3
0
2
Rhy. Fig. 3
7 7
5 5
10 10
10 10
7 7
5 5
10 10
10 10
3
5
3
5
5
7
3
5
3
5
7
0
*w/ echo set for quarter-note regeneration w/ 1 repeat, till Chorus.
End half-time feel
Gtr. 4: w/ Riff D
A5
G5
C5
I Gtr. 3
7 7
Chorus
5 5
10 10
10 10
C5 D5 C5 D5
Roll Rhy. Fig. 4
10 10
10 10
12 12
3
5
3
5
7
C5 D5
Gtr. 3: w/ Rhy. Fig. 4
C5 D5
Right
B5 D5
in
B5
when they
12 12
9 9
12 12
7 7
5 5
C5 D5
B5 D5
my
sight,
keep
C5 D5
Right,
B5
3 3
F5
0
3 3
0
it through to - night.
C5 D5 I’ll
smash
B5 D5
End Rhy. Fig. 3
B5
F5
keep it through to - night.
10 10 12 12
C5 D5
right
5 5
right,
10 10
12 12
C5 D5
3 3
G5
10 10 10 10
12 12
10 10 10 10
C5 D5
C5 D5
ground.
5
their
F5
F5
0
stood
keep it through to - night.
10 10
G5
10 10
12 12
it
10 10
10 10
could feel
o - ver right,
Gtr. 2: w/ Rhy. Fig. 2 (2 times)
C5 D5
A5
9 9
12 12
B5 D5 through
End Rhy. Fig. 4
3 3
0
your
B5 F5
spot
0
3 3
-
light.
0
3
Verse Gtrs. 2 & 3: w/ Riffs A & A1
C5 D5
C5 D5
C5
Gtr. 2: w/ Riff B
C5 D5
B5
2. She
ran
C5 D5
D5
ex
in
B5 D5
Old
Gtr. 3 Riff E
B5
Dm
to
Tex
a - way
C5 D5
D5
-
C5
as
B5 Dm
Veg
-
D5
don’t
back
P.M. 3
5
3
5
3
5
Gtr. 2: w/ Riff A Gtr. 3: w/ Riff E
C5 D5
C5 D5
C5
Gtr. 2: w/ Riff C
C5 D5
B5
3
2
0
3
0
She
burned through in - her - it - ance,
B5 D5
C5 D5
At
Gtr. 3
0
C5 D5
5
D5
2
all
night
B5 D5
the
Dm
sex
show,
3
5
X
X
3
5
3
5
2
5
0
2
3
0
0
-
D5
to
keep
B5
Dm
the
ex
a - way
B5 D5
-
as.
D5
so
far
3
5
5
3
C5 D5
C5 D5
End Riff E
5
2
B5
from
home.
0
3
2
B5
dashed
C5 D5
5
D5
C5 D5
cess.
B5 Dm
1 3
C5 D5
3
B5
C5 D5
C5 D5
Tex
D5
P.M.
5
P.M.
3
3
C5
B5 Dm
C5
C5 D5
as
C5 D5
a - cross
Dm
3
0
A - mer - i - ca.
B5 D5
B5 Dm
3
5
3
5
2
5
0
2
5
3
0
Pre-Chorus
Half-time feel Gtr. 3: w/ Rhy. Fig. 3 Gtr. 4: w/ Riff D (2 times) 2nd time, Gtr. 6: w/ Fill 1
A5
G5
C5
*
A5
can
feel
it
when
you
push
A5
could
feel
it
when
they
stood
I
G5
C5
straight
down.
*w/ echo as before.
A5
G5
C5
I
G5
F5
their
ground.
End half-time feel
G5
Chorus Gtr. 2: w/ Rhy. Fig. 2 Gtr. 3: w/ Rhy. Fig. 4
C5 D5 C5 D5
C5 D5
Roll
o - ver
Voc. Fig. 1
(Ah,
keep
ah,
B5
F5
it through to - night.
C5 D5
C5 D5
Right,
ah,
C5 D5
B5 D5
right,
8v a
15
17
keep
Fill 1 Gtr. 6
4
right,
B5 D5
ah.)
B5
F5
it through to - night. End Voc. Fig. 1
C5 D5
Bkgd. Voc.: w/ Voc. Fig. 1
C5 D5
Right Gtr. 3
my
B5 D5 sight,
B5
F5
I’ll
12 12
9 9
12 12
3 3
0
0
3 3
0
12 12 12
10 10 10
0 0
Interlude D5
12 12 12
0 0
12 12 12
10 10 10
9 9 9
12 12 12
0 0
9 9 9
3 3
0
3 3
0
10 10
C5 D5
right
B5 D5 through
10 10 10 10
12 12
12 12
9 9
F5
your
10 10 10 10
12 12
smash
10 10
Gtr. 2
10 10 10
C5 D5
C5 D5
10 10 10 10
12 12
keep it through to - night.
10 10 10 10
12 12
C5 D5
in
10 10 10 10
T o Coda
12 12
spot - light.
0
0 0
3 3
10 10 10
12 12 12
10 10 10
0 0
12 12 12
0 0
10 10 10
12 12 12
9 9 9
12 12 12
0
0
0 0
3 3
Ah. Gtrs. 2 & 3
0 0
Bridge Gtrs. 2 & 3 tacet
D5
Gtr. 4
Riff F
mp
What
you
give
is
what
you
12 X 10
9 X 7
**
take.
End Riff F
*w/ delay
5 X 3
7 5
11
11
9
9
9
7
11 9
*Set for quarter-note regeneration w/ 1 repeat. Gtrs. 2 & 3
Gtr. 5 (slight dist.)
0 0
pp
7 7
mf
0
7 7
**w/ echo as before, next 32 meas.
5
Gtr. 4: w/ Riff F
Dsus4
What
you
D
bleed
8 7
8 7
Dsus4
is
what
you
8 7
7 7
D
8 7
fdbk.
Gtr. 5
5 X 3
7
7
5
5
Gtr. 5
8 7
fdbk.
8 7
12 X 10
8 7
6
14 12
11
9
9
9
7
D
I’d
steal
7 7
0
11 X 9
7 7
17 X 15
7 7
7 7
0 0
11 X 9
12 10
7 7
0
7 7
0
for
14 X 12
you.
19
19
17
17
you.
fdbk.
8 7
8 7
7 7
9
7 7
15
0
11
17
for
9 X 7
11
bleed
12 X 10
Dsus4
7
8 7
Harm.
8 7
break.
I Gtr. 4
7 7
7 7
C/F
G
7
7
5
5
4 X 2
5 5
C/F
5
5 X 3
3
3 4
17 X 15
8 9
17 X 15
7
5
5
3 2
8 7
19
fdbk.
3
3
*Fingernail of right hand lightly touches vibrating string.
19
*
3 2
take,
7
I’d
14 X 12
D
take,
I’d
let ring
take,
G(no3rd)
I’d
5 X 3
D5
19
19
19
grad. bend 1/4 1/2
3/4
1
19
19
19
1919
I’d
19
19
17
fdbk.
19
7 7
(cont. in slashes)
7 7
Half-time feel Gtr. 4 tacet ***F Rhy. Fig. 5A
Gtr. 5 G
End Rhy. Fig. 5A
*Voc. Fig. 2
take, (Ah.)
I’d
3 3
3 3
f
3 3
take,
I’d End Rhy. Fig. 5
Rhy. Fig. 5 Gtrs. 2 & 3
End Voc. Fig. 2
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
0
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
0
*Refers to down-stemmed voc. only. ***See top of first page of song for chord diagrams pertaining to rhythm slashes.
7
End half-time feel
Bkgd. Voc.: w/ Voc. Fig. 2 Gtrs. 2 & 3: w/ Rhy. Fig. 5 Gtr. 5: w/ Rhy. Fig. 5A
F
take,
G
I’d
Gtr. 6 (dist.)
take,
I’d
f
1/2
1
7
7
Guitar Solo D5 C5
D5
C5
D5
C5
D5
C5
D5
8
8
8
7
C5
6
B5
take. Gtr. 6
1/2
1/2
8
Gtrs. 2 & 3
0 0
D5
5
8
5
6
10 10 10
12 12 12
10 10 10
12 12 12
C5
D5
8
8
7
C5
5
6
0
D5
8
Rhy. Fig. 6
0 0
1/2
8
8
5
7
6
6
5
10 10 10
12 12 12
8 8
8
10 10 10
12 12 12
10 10 10
12 12 12
12 12 12
10 10 10
9 9 9
D5
3
C5
D5
C5
B5
3 P.M.
8
6
hold bend
hold bend
8
8
8
8
7
1
C5
3
1/2
8
8
1/2
8
7
1
3
8
8
0 0
8
6
7
10 10 10
12 12 12
0
6
0 0
7
5
6
10 10 10
12 12 12
7
5
0 0
7
5
7
5
5
7
5
3
5
3
5
3
End Rhy. Fig. 6
10 10 10
12 12 12
12 12 12
10 10 10
9 9 9
1/2 P.M.
Gtrs. 2 & 3: w/ Rhy. Fig. 5
F5
G5
Gtr. 6
1 P.M. P.M. P.M. P.M. P.M. P.M. 3
0
5 5
3
5
0
5 5
5
3
0
5 5
3
5
0
5 5
3
5
0
5 5
3
5
0
5 5
3
3
5
5
Gtrs. 2 & 3: w/ Rhy. Fig. 6 (2 times)
D5 C5 D5
5
1/4
5
7
5
7
9
7
D5 C5 D5
9
12
C5
9
12
10 10
9
10 10
12
D5
10
12
C5
3
12
13
1
10 10 10 10
10
13
13 10
10
13 10
10
C5
12
12
3
11
12 10
Gtrs. 2 & 3: w/ Rhy. Fig. 5 (1st meas.)
B5
F5
8v a
13
14
3
1 15
13 10
5
B5
12 10 12 10
12
D5
10
12
3
12
1/2
13
5
1/2
10 13
3
10 12 10
3
C5
3
13
3
C5 D5
1
1
10
5
5
5
D5
5
3
13
12
D5
1/2
13
C5
5
3
12
12 10
C5
1 1/2
C5 D5
5
15
15
13
14 0
D.S. al Coda
G5
1
15
8v a
Gtr. 6
1/4
13
15
17
15
1 1/2
15
16
15
16
17
3
1/2
17 10
17
17
15
17
17
1/2
17 17
16
*Played behind the beat.
Gtrs. 2 & 3
F5
*
3 3
3 3
3 3
Coda
3 3
3 3
3 3
Gtr. 2: w/ Rhy. Fig. 1 (last 2 meas.)
C5
D5
C5
I’ll Gtr. 3
0
D5
smash
12 12
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
C5
D5
right
B5
D5
through
10 10
12 12
10 10
10 10
12 12
9 9
12 12
spot
0
5 5
F5
your
10 10
10 10 10 10
3 3
3 3
-
light.
0
3 3
0
9
from Velvet Revolver - Contraband
Slither Words and Music by Scott Weiland, Duff McKagan, Matt Sorum, Dave Kushner and Slash
Drop D tuning: (low to high) D-A-D-G-B-E
Intro Moderately fast q = 141 Half-time feel
D5 Gtr. 2 (dist.)
*** C5/D
3
3
mf
**w/ wah-wah & delay P.S.
X
X X X X X X
P.S.
P.S.
X
**Delay set at quarter-note regeneration w/ 3 repeats.
Gtr. 1 (slight dist.)
*p
X X X X X
X
mf
3 2 0 0 0
5 5 3
*Vol. swell
***Bass plays D next 12 meas.
G/D
D
P.S.
X X X X X X X X X X X X X X X X
3 3 4 5
3 2 4
Copyright © 2004 Chrysalis Music, Ready Set Go Publishing, Pimp Music, DracSorum Music, DTK Music and Slash And Cash Publishing All Rights for Ready Set Go Publishing, Pimp Music, DracSorum Music and DTK Music Administered by Chrysalis Music Group, Inc., a BMG Chrysalis company All Rights for Slash And Cash Publishing Administered by WB Music Corp. All Rights Reserved Used by Permission
1
Gtr. 1 tacet * D5
f
Gtr. 2
wah-wah off w/ flanger
C5/D
12
7 X 5
7
10 X 8
7 X 5
1/4
10 X 8
7 X 5
7 X 5
12 X 10
12 X 10
10
Gtr. 3 (dist.)
f
3 2 0 0 0
0
0
P.M.
0
0
0
0
0
0
0
5
0
0
0
0
P.M.
5 5 3
0
*Chord symbols reflect implied harmony.
G/D
7 5
P.M.
0
5 0
0
P.M.
0
0
5 X 3
7 X 5
7
0
0
5
10 X 8
12 X 10
0
0
0
0
P.M.
3 4 5 0
12 10
0 0
0 0
0 0
0 0
0 0
0 0
0 0
Ab5
A5
D5
C5
P.M.
End half-time feel
D
7 X 5
2 3 2 0 0 0
2
7 X 5
10 X 8
10 X 8
D5
** X
7 X 5
X
F5
F#5
Rhy. Fig. 1
delay & flanger off
X
0 0 0
3 3 3
4 4 4
D5
0 0 0
6 6 6
7 7 7
0 0 0
10 10 10
**Dampen strings w/ pick hand.
0
0 0
14 14
0 0 0
3 3 3
4 4 4
0 0 0
6 6 6
7 7 7
0 0 0
10 10 10
Gtrs. 2 & 3: w/ Rhy. Fig. 1
D5
Ab5
A5
D5
G5
D5
F5
F#5
D5
F5
F#5
D5
Ab5
A5
D5
C5
D5
Ab5
A5
D5
G5
D5
F5 F#5
Play 3 times
Ay. End Rhy. Fig. 1
4 4 4
3 3 3
0 0 0
5 5 5
0 0 0
7 7 7
6 6 6
0 0 0
Riff A Gtr. 4 (dist.)
f
*Gtrs. 2 & 3
12
10
9
11
10
13
12
9
12
10
12
End Riff A
12
12
10
12
*Composite arrangement
Verse D5
F5
F#5 D5 Ab5 A5
1. When 2. When
you you
look, seek
Gtr. 4
10
Gtrs. 2 & 3
C5
you me,
D5
D5 Ab5 A5
see you’ll
right de
-
D5
G5
D5
through stroy
F5
F#5
D5
F5
me. me,
Cut rape
F#5 D5 Ab5 A5
the my
rope, mind
D5
C5
I and
fell smell
Riff B
0
0
6
7
0
5
0
3
4
D5
F5
F#5
D5
Ab5
A5
D5
C5
P.M.
3
Ab5
4
A5
to the
0
D5
6
7
0
10
G5
D5
F5
F#5
my pop
-
knees. pies.
Gtrs. 2 & 3
D5
0
0
P.M.
6
7
5
Born
0
3
4
blood bro
and
-
ken ied
0
3
0
0
P.M.
4
6
7
P.M.
0
3
4
0
6
7
0
10
D5
Ab5
A5
D5
G5
D5
F5
F#5
ev
-
’ry
sin
-
gle
time. End Riff B
10
0
0
6
7
5
0
3
4
3
Gtrs. 2 & 3: w/ Riff B Gtr. 4 tacet
2nd time, Gtr. 4: w/ Fill 1
D5
Gtr. 4
Ab5
A5
3
1/4
0
D5
C5
1/4
4
0
6
D5
Ab5
A5
1/4
7
0
D5
F#5
F5
D5
G5
1/4
0 0
10
6
D5
F5
0
Al
F5 F#5 D5 Ab5 A5 D5
-
ways
keep
me
0 0
0 0
0 0
0 0
0 0
D5
-
3 3
4 4
Ab5 A5 D5
6 6
7 7
G5
D5 F5 F#5 D5
der
fin
-
ger.
see
some
type
7 7
That’s
the
spot
pleas
-
ure
5 5
0 0
D5
3 3
4 4
C5
in
mind.
un -
D5
Ab5 A5
might run
you
D5
to lin
D5 F5 F#5 D5 Ab5 A5 D5 C5
my
where
D5 Ab5 A5 D5 G5 D5 F5 F#5
of
6 6
F5 F#5 D5 Ab5 A5
D5 F5 F#5 D5 Ab5 A5 D5 C5
10 10
3
Gtrs. 2 & 3
C5
0
3
D5
1
7
F#5
G5
D5
F5 F#5
-
me. ger.
Might
D5 Ab5 A5 D5 G5 D5 F5
(Ah.)
Gtrs. 2 & 3
4 4 4
3 3 3
0 0 0
0 0 0
7 7 7
6 6 6
0 0 0
10 10 10
0
4
3
4
0
1/4
6
7
0
1/4
10
0
1/4
6
7
0
0
1
3
6 6 6
0 0 0
Fill 1 Gtr. 4
3
7 7 7
0 0 0
5 5 5
0 0 0
3 3 3
Chorus
Half-time feel D5
Yeah,
Gtr. 4
here comes
Riff C
0
3
4
0
Rhy. Fig. 2 Gtrs. 2 & 3
6
3 2 0 0 0
3 2 0 0 0
7
0
10
0
6
7
0
Cadd9
the
wa
-
ter.
It
comes
to
5
5
0
3
4
0
4
5
0
5
7
0
10
0
7
0
0
0 0 0
5
5
3 0 2 3
0 0 0
4
3 0
3 0
1.
G/B
wash
a - way
the
sins
0
4
5
0
7
9
0
End half-time feel
of
10
0
3 3 0 0 2
you
7
9
D5
and
I.
This
time
0
0
0
0
5
4
3
4
0
6
7
0
10
you
will
End Riff C
5
6
7
0
5
0
3
4
End Rhy. Fig. 2
0 0
0 0
6 X 3
6 X 3
6 X 3
6 X 3
0 0 0
0 0 0
12
Interlude Gtrs. 2 & 3: w/ Rhy. Fig. 1 (4 times) Gtr. 4 tacet
D5 F5 F#5 D5 Ab5 A5 D5 C5
see.
D5 Ab5 A5 D5 G5 D5 F5 F#5
Ay,
D5 F5 F#5 D5 Ab5 A5 D5 C5
D5 Ab5 A5 D5 G5
D5
F5 F#5 ay,
5
Gtr. 4: w/ Riff A
D5 F5 F#5 D5 Ab5 A5 D5 C5
D5 Ab5 A5 D5 G5 D5 F5 F#5 D5 F5 F#5 D5 Ab5 A5 D5 C5
D5 Ab5 A5 D5 G5 D5 F5 F#5
ay.
2. 2nd time, Gtr. 5: w/ Fill 2
D5
1st time, Gtrs. 2 & 3: w/ Rhy. Fig. 2 Gtr. 4: w/ Riff C 2nd time, Gtrs. 2 & 3: w/ Rhy. Fig. 2 (1st 4 meas.)
This
time
Gtr. 4
0
3
4
0
6
0 0 0
3 2 0 0 0
Gtr. 2
7
0
you
see.
10
0
6
7
0
5
0
3
7 X 5
5 X 3
5 3
ho
-
ly
1/2
3
Cadd9
-
Fill 2
it
1 1/2 15
15
T o Coda
ter,
Gtr. 5
on
15
13
-
burns
you
fast
1
13
ly
G/B
10
3
-
3 1
13 10
er
12 10 12
10
than
you’ll
1
13 12
6
Like
5
0 0 0
wa
7
Gtr. 3
4
ev
-
er
dry.
D5
This
Gtr. 1
time
with
Interlude D
me.
*p
mf
2 3 2 0 0 0 *Vol. swell Gtr. 2
0 0 0
3 2 0 0 0
Gtr. 4
Gtr. 2 divisi
7 7 5
Gtr. 3
5 5 3
5 5 3
7 7 5
p
0 0
pp
3 2 0 0 0
End half-time feel Gtr. 1 tacet
Gtr. 2: w/ misc. pick scrapes & fdbk. (next 6 meas.) Gtrs. 3 & 4 tacet
C5
G
Oo.
Gtr. 1
5 5 5 3
3 4 5
D
μ
hoo.
7 7 7 5 0
7
Guitar Solo D5
Gtr. 5 (dist.)
f
w/ wah-wah 1
1
10
13
10
1
10
10
13
13
10
1
10
1
10 13
C5
10
15
1
15
15
Rhy. Fig. 3 Gtrs. 2 & 3
P.M.
7 7 5
7 7 5
7 7 5
5 5 5
15
P.M.
7 7 5
5
1 1/2
1 1/2 1 1/2
15
15
15
15
P.M.
5 5 3
3
3
3 3 3
5 5 3
5 5 3
13
14
3 0 0 2
3 0 0 2
0
7 7 5
5 5 5
5
8v a
G/B
5
1 1/2
5 5 3
7 7 5
5
15
5 5 3
P.M.
5
1
2
13 15
7 7 5
5 5 3
5 5 3
0
P.M.
1
1 15
0
8
3
1
15
15
15
13
3 0 0 2
3 0 0 2
2
3 0 0 2
3 0 0 2
P.M. 0
loco
14
1
15
0
14
12
15
12
13
15
12 13 12
P.M.
7 5
5
14
12
13
14
12
12
10
12
7 7 5
7 7 5
P.M.
5 5 5
7 7 5
0
7 7 5
12
12
10
5
0 0 0
1
10
13
10 13
13
12
P.M. let ring 5
End Rhy. Fig. 3
3
10 14
15 14
3
12
14
3 0 2 3
3 0 2 3
3 0 2 3
1
14
5 5 3
3
3
D5
3
5 5 3
3 3 3
3
Cadd9
8v a
1/2
P.M.
3
2
5 5 5
7 7
7 7 5
0 0
10
Gtr. 3: w/ Rhy. Fig. 3 Gtr. 5
5
1
1/2
Gtr. 2
1
1
10
13
12
7 7 7 5
7 7 7 5
8 7 7 5
7 7 7 5
0
5
1
12
12
5
1
10
12
1
13
10
13
12
10
1
13
12
1
10
13
12
7 7 7 5
1
10
1
13
12
10
13
12
1
10
13
12
10 12
7 7 7 5
7 7 7 5
10 X 8
10 X 8
10 X 8
0
C5
5
3
1
13
1
10 13 12
1
10
13
12
3
3
1/2
10
13
10
13
12
5 5 3
5 5 3
3 3
5 5 5 3
12
10
13
10 13 10
12
10
13
1
10
10
13 10
13
5 5 5 3
5 5 5 3
5 5 5 3
8
8
10 X 8
10 X 8
3
3
1
1
10 13
13
1
10
10
13
1
10
13
13 10
12
3 0 0 2
3 0 0 2
3 0 0 2
3 0 0 2
3
13
3 0 0 2
10 X 8
Cadd9
1
10
10 13
13 10
13 10
0
3
1
10 12
10
13 10 12
G/B
1/2
10
12
3
10 12
3 0 0 2
3 0 0 2
1
13
13
13
13
10
8
10 X 8
10 X 8
10 X 8
10 X 8
9
D5 Gtr. 5
1
13
10
13
10
13
3
3
1/2
F5
7 7 5
7 7 5
7 7 5
7 7 5
3
3
A5
10
8
10
8
1/2
10
13
12
10
12
12
Gtr. 2 & 3
G5
0 0
0 0
0 0
0 0
0 0
12
10
12
10
8
3 3
3 3
3 3
5 5
5 5
7 7
7 7
Verse Gtrs. 2 & 3: w/ Rhy. Fig. 1 (3 times)
D5
F5 F#5 D5 Ab5 A5
3. When
D5
C5
you
look,
you
see
D5
Ab5 A5
D5
right
through
G5
D5
F5 F#5
me.
D5
F5 F#5 D5 Ab5 A5
Cut
the
D5
rope,
I
C5
fell
Gtr. 5
12
D5 Ab5 A5 D5
to
my
G5
D5 F5 F#5
knees.
D5
Born
and
F5 F#5 D5
Ab5
A5
blood - ied
D5
C5
D5
Ab5 A5
D5
G5
D5
ev
-
’ry
sin
-
gle
F5 F#5
12
10
D.S. al Coda (take 2nd ending)
D5
C5
time.
Gtr. 5
D5
B5
C5
D5
A5
D5
A5
D5
G5
D5
F5
Ab5
F#5
1/2
10
13
12
12
13
10
12
Gtr. 4
0
10
12
0 0 0
10 10 10
12 12 12
Gtrs. 2 & 3
0
0 0 0
9
10
9 9 9
10 10 10
Coda
G/B
burns you fast - er
9
12
than
you’ll
0
-
er
6 6 6
7 7 7
3 3 0 0 2
Gtr. 3
3 3 0 0 2
0 0
0 0
6 X 3
6 X 3
6 X 3
6 X 3
17 16 15 13
3 3 3
4 4 4
0 0
End half-time feel
with
15
15
15
13
15 13
14 13 12 10
12
3 2 0
3 2 0
3 2 0
3 2 0 0 0
0 0
0 0 0
0 0
time
3
17
1/2
3
5 5 5
3 3 3
15 15
0
0 0 0
5
This
1 1/2
Gtr. 2
0
10
12
dry. 8v a
Gtr. 5
7
D5
6
0 0 0
7 7 7
0 0 0
0
12
12
7
ev
10
12
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
12 10
3 2 0 14
11
Outro Gtrs. 2 & 3: w/ Rhy. Fig. 1 (3 times)
D5
F5
F#5
Gtr. 5 tacet
D5
Ab5
A5
D5
C5
D5
Ab5
A5
D5
G5
D5
me.
Gtr. 4
F5
F#5
Ay.
Riff D
12
10
11
9
10
12
13 12
9
10
12
12
12
Gtr. 5
loco
12
End Riff D
10
11
F5
F#5
12
Gtr. 4: w/ Riff D (2 times)
D5
F5
F#5
D5
Ab5
A5
D5
C5
D5
Ab5
A5
D5
G5
D5
Ay.
D5 Gtr. 4
C5
13
D5
10
12
Gtrs. 2 & 3
B5
C5
12
13
12
A5
0 0 0
10 10 10
12 12 12
0 0 0
9 9 9
10 10 10
D5
10 12
12
D5
0 0 0
Ab5
A5
9
D5
10
12
12
7 7 7
0 0 0
7 7 7
0 0 0
6 6 6
G5
12
D5
12
F5
F#5
10
11
D5
μ
12
12
5 5 5
0 0 0
4 4 4
0 0 0
3 3 3
from Guns N’ Roses - Appetite for Destruction
Sweet Child o’ Mine Words and Music by W. Axl Rose, Slash, Izzy Stradlin’, Duff McKagan and Steven Adler D/A
C
G
D
A5
C5
D5
E5
CIII
B5
A
7fr 132
32 1
B
21
34
E
132
GIII
11
AV
134
5fr 1333
231
1342
13
D5V
G5
134
5fr
1342
134
1333
E5open
D5/A
134
5fr 134
1134
111
G5X
A5V 10fr
11
134
5fr 134
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately fast q = 128 *D
Riff A
Gtr. 1 (elec.)
C
mf w/ dist.
15 12
15 14 12
14 14
15 12
15 14 12
14 14
15
14
14
15 14 12
14 14
G
15
Gtr. 2 (elec.)
15 14
12
14 14
14
12
15
15 14
12
D
14 14
15
14
12
15 14
12
14
mp
2 0
p
3
2 0
2 0
2 0
2 0
14 14
14
2
3
End Riff A 15 12
15 14
12
3
2
0
14
2 3 2 0
2 3 2 0
2 3 2 0
2 0
2 0
3 2 0
3 2 0
3 2 0
let ring
2
14 14
C
let ring
2 3 2 0
2 0
Gtr. 1: w/ Riff A (1 1/2 times) **D/A
Gtr. 2
14 12
14
14 14
w/ dist. P.M.
Gtr. 3 (acous.)
15
15
14
*Chord symbols reflect implied harmony.
Gtr. 1
12
14
0 1
3 2
1
0
1
0 3
**See top of page for chord diagrams pertaining to rhythm slashes.
Copyright © 1987 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
1
D
G
let ring
0
0 0 0
0 X 3
3
Gtr. 2
let ring
2 3 2
2 3 2
3 2 0
Gtr. 3
2 3 2 0
3 3
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
G
Gtr. 1
12
Gtr. 2
15
15 14
12
14
let ring
0
0
0
3 0 0 2 3
2
12
2 3 2
2 3
3
2
0
15
15 14
12
14 14
14
0
0
0 0
0 0
3
3 0 0 2 3
3 0 0 2 3
3 0 0 2 3
0 0 0
2
3 0 0 2 3
3
3
2
0
(cont. in notation)
let ring
2
3 2 0
0
2
3
3 3
2 0 0
2 3 2
C
1
3
let ring
0 0
3
Gtr. 3
0 0
14 14
2
0 0
0 1 0
2 3
0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
17
14
15
14
17
14 14
1
0
0
15 14
2
0
14 14
3
14
17
14
15
let ring
0
2
2 3
2
3 3
1
0
2
D
1
2 0 0
2 3 2
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
3 3 2 0
(cont. in slashes)
2 3 2 0
Verse
D Gtr. 3
1. She’s got
Gtr. 1
a
smile
that it
Gtrs. 1 & 3 tacet
seems
to
C
me
re - minds
me of child
-
hood
mem - o - ries
where ev -
15
mp w/ clean tone
Gtr. 2
let ring
2
3 2 0
3
2 3 2
2
2
0 0
-
’ry - thing
was as
0
let ring
3
3 3 0 5
Gtr. 2
let ring
0
a
bright blue
0
0
3
0 3
3
0
0
3 0
3
2
0
2
1 0
0
1
3
End Rhy. Fig. 1
12
1
1 2
0
0
sky.
let ring
Gtr. 4
3
as
*
13
let ring
3
fresh
3
G
10
13 12 10
let ring
15 14 12
Rhy. Fig. 1
Gtr. 4 (elec.)
0
0
0
2
3
2
3
let ring
0
2
2 3
3 2
0
2
2 0 0
2 3 2
2
0
*w/ echo set for half-note regeneration w/ 2 repeats.
3
Now and
then
when I
see her
Riff B
w/ chorus let ring
3 0
0 2
3
0
2
face
she
3
3
2
2
2
2
2
0 0
stared
too
long,
I’ll
2 0
0
2
3 0
prob -’ly break
down and
3
4
0
0 3
0 0
spe - cial
3
0
3
0
3
2
0
0
3
0 0
0
0
0 2
1
3
3
2
and if
0
0
3
1
0
0
1
0
I
End Riff B
3
0
place,
0
cry.
let ring
3
0
0
3
2
0
2
0
2
0
2
to that
D
let ring
2
0
let ring
3
a - way
let ring
2 3 2
G
3
3
3
0
0
let ring
3 2 0
takes me
let ring
2
2
C
2
3 0
3 2
3
0
2
3
2
2
2
let ring
0
2
3
2
2 0 0
2 3 2
2
0 0
Chorus
Gtr. 4 tacet
A5
Whoa,
C5
whoa,
whoa, sweet
Riff C
Gtr. 1
14 11
14
15 14
14
14
14
2 2 0
X X X X
child
o’ mine.
13
10
13
12
12
5 5 3
5 5 3
mp
14 12
12
15
15
12
10 12
X X X
X X X X X X
2 2 0
A5
oh,
oh,
sweet
love
of
14
15 14
14
14
14 12
12
14
X X X
2 2 0
12
12
7 7 5
2 0
2 0
5 5 3
5 5 3
X X X X X X
5 5 3
X X X
5 5 3
14
7 7 5
0 0 0 0
P.M.
3 0
2
0
14 14
7 7 5
7 7 5 5 5
P.M.
3 2 0
5
7
X X X X X X
D5
let ring
10 12
2 2 0
2 2 0
10
13
Whoa,
mine.
13
15
15
Gtr. 1
fdbk.
Gtr. 6 (elec.) divisi
2 2 0
X X X X X X
5 5 3
C5
oh,
14
11
X X X
5 5 3
w/ dist.
2 2 0
14
7 7 5
14 14
7 7 5
0
Gtr. 5 (elec.)
D5
Gtr. 2
2 2 0
15
mf w/ dist.
10
15
12
14
7 7 5
7 5
5 5 3
X X X
X X X X X X
7 5
7 5
7 7 5
7 7 5
7 7 5
7 7 5
0 0
3 2 0
5
Interlude Gtr. 5 tacet
Gtr. 1 tacet
D
Gtr. 1
let ring
7
10
C
8
7
10
8
2 3 2 0
0 0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
Gtr. 6
10
8
Gtr. 6 *
8 / 15
9
10
9
*Gtr. 1 to right of slash in tab.
2 3 2 0
2 0
2 0
3 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
G
1
8
10
2 3 2 0
3 3 2 0
2
8
10
10
0 1 0 2 3
0 1 0 2 3
0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
3 1 0 2 3
2
0
D
1
1
10
Gtr. 3
2 3 2 0
Gtr. 2
1
10
10
9
let ring
0 0 0
0 0 0
0 0 0 X 3
0 0 0
0 0 0 X 3
0 0 0 X 3
0 0 0 X 3
0 X 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
0 0 0
3 2 0 0
3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
0 0 0 X 3
let ring
3 2 0 0
0 0 0 X 3
0 X 3
2 3 2
3 2 0
3 2 0
3 3 2 0
2 3 2
2 3 2 0
2 3 2 0
2 3 2 0
3 3 2 0
2 3 2 0
0 3 2 0
2 3 2 0
3 3 2 0
3 3 2 0
0 0
3 2 0
0 0
6
(cont. in slashes)
3 0 0 0 2 3
3 0 0 0 2 3
2
0
3
2 3 2 0
3 3 2 0
Verse
Gtr. 4: w/ Rhy. Fig. 1 Gtr. 6 tacet
D Gtr. 3
2. She’s got
eyes
of the
blu - est
and
let ring
2
3
0
2 3 2
2
2
0
C
skies
Gtr. 2
Gtr. 3 tacet
G
hate
if
they
to
look in
-
to those
eyes
3
Gtr. 2
3
3
0 0
0
0
0
and
see
0 3
Gtr. 4: w/ Riff B
hair
Gtr. 2
let ring
2 3 2 0
0
0 0
3
re - minds
me of
a
warm,
3 2
3 2 0
3
0
3 2 0
an
ounce
I’d
0 0
1
1
2
of
0
2
0
pain.
Her
let ring
2
3
2
let ring
2 0
2
3 3
2
as
I’d
a
child
0 3
1
2 3 2
2 0 0
0
let ring 2 0
3
0
C
place where
0
safe
rain,
D
1
0
2
let ring
0
3
0
thought of
let ring
3 3 0 5
let ring
2
Gtr. 4
3
hide
1
and
0
1
0
1 0
1 0
0 1
3
7
G
pray
Gtr. 4
for the thun
- der
and the
rain
D
to qui
-
let ring
3 0
0
3
0 0
2
Gtr. 2
let ring
0 0 0 X 3
3
0
0 0 X 3
0 0 X 3
3
3
0
0
0 0 X 3
0 0 X 3
0 0 X 3
3
et - ly
0 0
pass
me by.
let ring
0
3
0
0 0 X 3
2
3
2
3
3
3
2
2 2
let ring
0 3 2
3 2 0 0
2 0
0 3 2
3
2 0
3 2
0 0
3 2
3 3 2
2 3 2
3 2 0
0 0 0
Chorus Gtr. 1: w/ Riff C Gtr. 4 tacet
A5
Whoa,
X X X
2 2 0
8
2 2 0
child
2 2 0
Gtr. 2
2 2 0
whoa, sweet
Gtr. 5
2 2 0
C5
0
X X X
5 5 3
X 5 X 5 X 3
5 5 3
5 5 3
D5
o’
mine.
5 5 3
0
Whoa,
X X X X X X X X X X X X
3 2 0
7 7 5
P.M. P.M. 2 0
2 0
3 2 0
2 0
2 0
3 2 0
3 2 0
X X X X X X
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
0 0
A5
whoa,
oh,
oh,
C5
oh,
sweet
love
of
D5
mine.
Gtr. 5
2 2 2 0
X X X X
3 2 2 0
0
2
5 5 3
X X X
fdbk.
Gtr. 6 divisi
X X X
5 5 3
X X X
3 2 0
3
10
5 5 3
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
10
8
5 5 3
5 5 3
7
10
8
7
10
2 2 0
2 2 0
2 2 0
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
0 0 0
Interlude
8
Gtr. 2
let ring
3 2 0
3 2 0
3 2 0
3 2 0
3 3 2 0
0 0
2 3 2 0
0 0
3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
3 3 2 0
2
0
0 0
8
Gtr. 3
C
9
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
10
9
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 4 2 3
Gtr. 6
Gtr. 5 tacet
D
0 1 4 2 3
0 1 4 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
3 1 0 2 3
2
0 0 0
0
9
G
D
1/2
8
10
8
1/2
7
7
hold bend
10 7
7
7
7
X
10
0 0 X 3
0 0 0 X 3
0 0 X 3
0 0 X 3
0 0 0 X 3
0 0 0 X 3
0 0 0 X 3
0 0 0 X 3
0 0 0 X 3
0 0 0 X 3
0 0 0 0
3 2 0 0
3 2 0
3 2 0
3 2 0
3 0 0
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0
2 3 2 0
2 3 2 0
(Oo.)
3 2 0
3 2 0
3 0 0
3 2 0
3 0 0
3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
3 3 2 0
2 3 2 0
2 3 2 0
C
3 2 0
1/2
1
8
7
10
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
10
2
8
7
10
3
3 2 0
3 0 0
10
8
3 2 0
3 2 0
2
10
12
12
12
12
10
10
10
8
7
10
3 0 0
3
3
2
3
0 0 0
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0 1 0 2 3
0
3
2
0
0 1 0 2 3
G
D
Ah,
8
oh,
yeah.
3 1
7
10
7
0 0 X 3
let ring
1
1
10
1
10
10
17
10 8
10
0 0 X 3
0 0 X 3
0 0 X 3
0 0 0 X 3
0 0 X 3
0 0 X 3
17
0 0 X 3
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
3 2 0
0 0 X 3
0 0 X 3
0 0 X 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
3 0 0 0 2 3
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
0
3
2
3
3 2 0
3 2 0
0 0 0
Chorus Gtrs. 3 & 6 tacet
A5
Whoa,
oh,
Rhy. Fig. 2
Gtr. 5
oh,
C5
oh,
sweet
child
D
o’ mine.
Oo,
End Rhy. Fig. 2
(cont. in slashes)
1/2
2
2
2 2 0
X X X
2 2 0
X X X X X X
Gtr. 2
2 2 0
2 2 0
2
5 5 3
X X X
5 5 3
X X X X X X
5 5 3
5 5 3
5 5 3
0 0 0 0
3 2 0
7 7 7 5
3
2
5
4
0
0 4
7 7 5
7 7 7 5
7 7 7 5
7 7 7 7 5 5
7 7 5
7 7 5
7 7 5
7 7 5
0 0 0
11
Gtr. 5 A5
whoa,
C5
oh,
oh,
oh,
sweet
Gtr. 2
2 2 0
2 2 0
2
love
of
3
3
mine.
5 5 3
5 5 3
5 5 3
D5
0 0
7 7 7 5
0 0
3
7 7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
3
2
4
Gtr. 5: w/ Rhy. Fig. 2
A5
Whoa,
oh,
2 2 0
2 2 0
A5
oh,
C
oh,
sweet
X X X X X X
X X X
X X X X X X
2 2 0
Gtr. 2
2 2 0
love
12
C
sweet
Gtr. 5
2 2 0
5 5 5 3
5 5 5 3
Oo,
2 2 0
child
2 2 0
5 5 3
X X X
5 5 3
2 2 0
X X X X X X
D/A
5 5 5 3
5 5 5 3
o’
mine.
5 5 5 3
X X X X
X X X X
7 7 7 5 5
of
Oo,
D5
yeah,
yeah.
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
7 7 7 5
0 0 0
D#5
mine.
P.M.
P.M.
X X X X X X
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
0 0
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
0 0
8 6
(cont. in slashes)
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
8 8 6
8 8 6
Guitar Solo
E5 Gtr. 2
*w/ wah-wah 1
17
17
17 15
14
15 14
B5
3
Gtr. 5 tacet
8va
Gtr. 1
C III
17
A
loco
1
15
14
15 14
12
17 16
1
14
15 12
15
14 12 11 12
14
*As filter
Riff D
Gtr. 4
let ring
0
0
0
0
0
2
0
let ring
2
0
1
3
1
0
0
2
End Riff D
let ring
1
2
0
2
0
2
1
let ring
0
2 0
0
Gtr. 5
2
1
2
2 3
2
9 9 7 0
Gtr. 4: w/ Riff D (2 1/2 times)
E5
Gtr. 1
14
14
C III
B
3
3
1
11
12
14
13
12
13 12 10
13
13
12
12
1/2 12
13
A
1
7
14
B5
8
8
7
11
9
1/2
7
9
Gtr. 6
A5
P.M.
7 8 7
8 9
8
11
Gtr. 4
2
14
1
1
7
1/2
7
9
9
8
10
10
C5
1/2
7
7
9
14
2
1/2
8
3
3
1
9
7 10
1
8 7
11 7
8 11 12 14 11 12
14 15 12 14 15 14 12
15
14 11 12 14 12
15
9
9
0
1/2
12 15
15 12
let ring
2
1
8
3
w/ wah-wah P.M.
Gtr. 1
9
E5
1/2
7
C III
9
B5
9
A5
1/2
15
15
12
E5
1
2
2
let ring
0
0
2 0
2
2
2
2
0
2
2
3
2
2
Gtr. 1 tacet
Gtr. 4 tacet
E
*Gtrs. 2&5
Gtr. 6
1
1
15
15
GIII
1
1
15
15
12
1
15
15
1
15
15
14
Gtr. 4
12
14
0
*Composite arrangement
AV
Gtr. 6
1
1
17
17
GIII
1
14
14 12 14
G5
1
E
1
17 16
17
17
AV
12
1/2
14
12
1/2
15 14
15
12
15
C5
1/2
14
17
17
17
1/2
1
D5 V
12
G5
1/2
15 14
15
15
1/2
15 14
15
15 14
1/2
15 14
1/2
15
14 12 14
1/2
1/2
D5 V
3
1/2
C5
14
14 12
14
14 12
X X
15
E
GIII
1/2
12
14 12 14
AV
1/2
X X
C5
12 14 12
12
14
14 12 14
D5/A
1/2
G5
12
14
12
15
12
15
15
12
14 12
14
15
14 12
3
1
12 15 12
12 15
3
3
1
1
12 15
15
1
12
15
1
12
12
12
15 12
1
12 15
12
15
12
15
15
14
C5 Gtr. 5
grad. bend
1 1/2
D5/A
End Rhy. Fig. 3
1
12
5 5 3
5 5 3
1
14
14
3
12
15
12
12
15
5 5 3
12
15 14
X X X
X X X
7 7 5 5
do
we
go?
steady gliss.
1/2
1
14
Voc. Fig. 1
3
(Gtr. 2, cont. in notation)
Breakdown E5 open
Sung and whispered: (Where
Gtr. 2
15
15
12 15
G5
15
1
15
12
16
14
1
8va
loco
Gtr. 6
15 12
14
12 12
12
12
15 12
AV
1
12
14
14
3
3
14
GIII
15 15 12
3
15
12 12
14 14 12 14
Rhy. Fig. 3
1
12
12
E
12 14 12
X X
12
5 5 3
14
14
12
14
12
12
2
P.M.
P.M.
P.M.
2 0
2 0
X
2
Gtr. 5 tacet
G5
A5
C5 End Voc. Fig. 1
Where do
we
go,
Where do
we
go?)
now?
X X
10
X X
steady gliss.
5 3
10
X X
X X
X X
X
12
P.M. Harm.
4
X X
5 5 3
5 5 3
12
oh.
4
steady gliss.
7 5
G5
Oo, Whispered: (Ah.)
D5
7 7 5
X X
X X
5 5 3
Bkgd. Voc.: w/ Voc. Fig. 1
E5
Where do
we
G5
7
9
2 0
go?
Oh,
A5
where do
go,
we
now?
P.M. Harm.
X X X
7
steady gliss.
2
5 3
7
steady gliss.
X X X
P.M.
7
7
10
10
7 5
12
17
C5
D5
G5
E5
Where
do
X X X
X X
7
P.M. X X X
5 5 3
3
7 7 5
3
we
Oo, Whispered: (Sweet
X X
5
go?
X X
G5
X X
o’
mine.)
oh, child
7
5
7
5
7
5
3
0 0
5 5 3
2 0
2 0
0
0
0
0
5 3
0 0
0
5 3
Bkgd. Voc.: w/ Voc. Fig. 1
Asus2
we
go,
G5
E5
where do
D5
now?
I,
I,
I,
I,
C
steady gliss.
12
18
9 7 5
9 7 5
9 7 5
9 7 5
9 7 5
9 7 5
1/4
12
12
14
P.M.
9 7 5
7 8
8
8
slight P.M.
7 7 5
5 5 3
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
G5
A5
I,
Oo, I,
I,
where where
do do
go, go,
Oh,
I,
C5
we we
1
X X
X X
slight P.M. 5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
15
15
now? now?
1
14
14
12
D5
G5
8va
1 22
12
7
2
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
15 17
18
0 0
16
18
17
17 17
5 5 3
5 5 3
7 7 5
5 5 3
X X X
X X X
5 5 3
Outro-Guitar Solo Gtr. 5: w/ Rhy. Fig. 3 (2 1/2 times)
E
where
do
we
go?
Ah,
8va
G
1
22
22
22
22
22
22
22
16
Rhy. Fig. 4
2 2 0
2 2 0
2
5 5 3
5 5 3
17
0
19
A
where
do
we
go,
8va
17
17
17
17
15
17
17
17
17
1
1/2
7 7 5
7 7 5
1
17
1
17
G5
Ah,
3
15
D5
now?
1
C5
5 5 3
5 5 3
5 5 3
X X X
7 7 5
End Rhy. Fig. 4
5 5 3
Gtr. 2: w/ Rhy. Fig. 4 (1 1/2 times)
E
where
do
we
A
12
15
do
we
3
6
15
12
12
15
12
14 12
12
15 12
12 14
14
20
15 12
12 14
15 12
12 14
14
3
15 12
12 14
G5
now?
3
15 12
12 14
3
3
12 14
15 12
D5
3 1
12
3
3
go,
6
14
C5
3
15 12
1/2
Where
grad. bend
17
3
17
G
go?
loco
8va
Gtr. 6
15 12
12 14
15 12
1 15
14
14
12
1
15
15
1
15
15
12
14
12
14
Where
do
we
go?
G
Oo,
3 3
14
12
whoa,
E
grad. bend 1/2
1/2
14
where do
Gtr. 6
14
14
A
1
we
μ
go,
now?
12
14
1
15
16
15
15
12
No,
no,
no,
no,
no,
no,
no.
6 7 7 5
Gtr. 2
7 7 5
X X X X
6 7 7 5
7 7 5
3 1/2
15
15
12
3
9
7
3
7
5
9
14
12
14
12
3
7
7
5
3
3
5
Sweet
child.
1/2
8
6
14
E5
3
14
Gtr. 5
12
3
1
12
14
14
3
12
1/4
14
14
14
9 9 7 0
X X X X
2 2 0
9 9 7 0
X X X X
X X X X
2 2 0
(cont. in slashes)
2
21
G5 X Gtr. 5
A5 V
C5
D5 V
rit.
rit.
Sweet
1/2 14
14
2
14
X X
X X
19
5 5 3
5 5 3
7 7 5
3
rit.
14
14
10
10
5 5 3
5 5 3
7 7 5
19
rit.
of
Freely E5
17
Gtr. 2
child
Gtr. 6
7 7 5
9 9 7
mine.
grad. bend
7
2 3
5
5
3
*
1/2
7
0
0
0
-1/2 *Hold body of guitar firmly with pick-hand and push on back of headstock to lower the pitch of the open 6th string.
let ring
9 9 7
22
7
9
9
9
The Godfather (Love Theme) from the Paramount Picture THE GODFATHER By Nino Rota
Slowly q = 66
Dm
Gm
Dm
mf
w/ dist.
10
10
13
10
Dm
9
10
C
13
12
13
10
12
10
8
12
10
10
11 10
12
8
10
12
10
11
8
Asus4
6
8
9
A7
13
13
Gm
9
10
10
10
11
10
6
11
10
F
10
10
10
12
9
10
13
8
6
9
Dm
6
10
9
7
10
10
9
7
8
8
Gm
Copyright © 1972 Sony/ATV Music Publishing LLC Copyright Renewed All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved
11
1
Asus4
A
1/2
10
10
10
10
Dm
13
12
10
13
12
Gm
13
15
13
15 13 12
13
12
13 12
12
15
Dm
3
14
15
11
14
11
10
11
10
11
10
10
12
11
12
10
11
10
10
13
12
13
12
10
13
12
Gm
8va
3
3
3
1
121310 12 10 13 10 13 15 121312
8va
15
12
15
1 15
1 15
1 15
15 13
15
13 15 15 15
15 13 15 13 12
1
13 12 15
15
loco
3
3
3
1/2
15
15
15 13
14
15
10 10
13
13 10 13 11
11 13 11 10 11 10 11 10
Dm
8va
3
10
2
12
9
10
12
9
10
12
10
11
1
10
12
10
11
13
10
13
13
12 12 10 12 10
9
13
1 15
12
Asus4 8va
A
1
15
15
C
13
13
15
15
15
13
15
15
12
12 10 12 12
15
1 1/2
15
15
15
11
F
1 15
14
15
10
13 15 13 12
11
Gm
10
loco
1
15
Dm
10
let ring
10
11
13
10
12
11
10
10
10
9
11
A Asus4
3 1 hold bend
10 12
13 12
12
12 10
Dm
12
12 14
13
14 15
13
14 15 15
13 15 13 15
13 13
15
Gm
8va
17
15 17 15 13
Dm 8va
15
17 15 17 15 13
15
17 15 17 15 13
15
17 15 17 15 13
15
17 15 17 15 13
15
13
loco
3
5
3
6
1
13
18
18 17 18 17 18 17 15 17 15
18 17
15
18 17
15
18 17
15
18 17 15 18 17 18 17 15 17
14
15 18 15
18
15
18 15 18 15 14
17
15
17
3
Gm
14
12
12
8va
1 hold bend
1 hold bend
20 20
20
20
12
18
20
19
18
20
20
20
20
18
20
17
20
Dm
Free time Asus4
loco
8va
18 20 17 18
19
17
17 19 17 19 17 15 17 15 17 15 14
17
14
12 14 12 10 12 10 9 10 9
11 10 11 10 8 10 8
3
10
9
12
10
9
10
12
9
12
7
7
7
6
4
14
15
8
12
10
8
10
8
7
8
7
8
10
7
8
10
8
Free time Dm
rit.
7
18
10
7
10
9
7
15
12
A tempo μ(Dm)
A
1/2
9
10
19
21
22
21
10
9
7
7
8
8
10
10
18
19
9 10 12 14 15 14 17
12
rake
19
19 X X X
from Guns N’ Roses - G N’ R Lies
Used to Love Her Words and Music by W. Axl Rose, Slash, Izzy Stradlin’, Duff McKagan and Steven Adler
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately fast q = 140 *D
A
Gtr. 1 (acous.)
(Talking & count-off) 4 sec.
2 3 2 0
2 3 2 0
mf 2 3 2 0
D
mf
2 3 2 0
2 3 2 0
2 2 2 0
0 0 0
0 2 2 2 0
0 2 2 2 0
A
0 2 2 2 0
0 2 2 2 0
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
0 0 0
3 3 0 0 2 3
0 2 3
A
w/ clean tone
G
Gtr. 1
2 3 2 0
2 2 2 0
2 2 2 0
2 2 2 0
0 2 2 2 0
0 2 2 2 0
2 2 0
4 0
0 0 0
A
let ring
3 2 0
0 0 0
*Chord symbols reflect basic harmony.
Gtr. 2 (elec.)
G
3 2 0
4 0
2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
0 0 0
2 0
2 2 0
4 0
2 2 2 0
0 2 2 2 0
0 2 2 2 0
4 0
0
0 2 2 2 0
0 2 2 2 0
0 0 0
0 0 0 X 3
2 X 3
0 2 3
3 3 0 0 2 3
0 0 X 3
2
2 0
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
0 0 0
0
2 0
4 0
2 2 0
2 2 2 0
2 2 2 0
0 0 0
0 2 2 2 0
0 2 2 2 0
Copyright © 1988 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
1
Verse D
1. I
Rhy. Fig. 1A
3 2 0
A
used
to
love
4 0
3 2 0
4 0
2 3 2 0
2 3 2 0
0 0 0
D
4 0
2 2 0
4 0
0 0 X 3
2 X 3
2 2 0
0 2 2 2 0
0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
love
3 2 0
4 0
3 2 0
4 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2 3 2 0
2
to
her,
2 0
0
0 2 2 2 0
0 2 2 2 0
0 0 0
G
oo,
2 0
0 0 0
I
2 0
4 0
2 2 2 0
0 2 2 2 0
0 2 2 2 0
2 2 0
4 0
0
0 2 2 2 0
0 2 2 2 0
0 0 0
A
I used
but
her,
2 0
Rhy. Fig. 1
G
A
had
to
0 X 3
2 X 3
2 0
3 3 0 0 2 3
3 3 0 0 2 3
0 0 0
her.
2 0
4 0
2 2 0
4 0
0
2 2 0
0 2 2 2 0
X X X X X
2 2 0
2 2 0
0 2 2 2 0
0 0 0
A
I
kill
yeah,
but
had
to
kill
3 0 0 X 3
2 X 3
0 X 3
2 X 3
2 0
0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
0 0 0
her.
2 2 0
4 0
0 0
2 0
4 0
2 2 0
0 2 2 2 0
X X X X X
X X X X X
0 2 2 2 0
0 2 2 2 0
0 2 2 2 0
0 0 0
G
I
had
A
to
put
G
her
0 0 0 X 3
2 X 3
0 0 X 3
2 X 3
0
0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
2 2 2 0
0 2 2 2 0
0 2 2 2 0
G
3 0 0 X 3
0 X 3
4 0
still
2 X 3
hear
2 0
2 2 0
4 0
her
0 2 2 2 0
0 2 2 2 0
com
0 0 0
six feet
un
3 0 0 X 3
2 X 3
0 X 3
0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
2 X 3
-
der,
2 0
2 0
0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
0 0 0 0
2 2 0
0 2 2 2 0
3 3 0 0 2 3
2 2 2 0
0 2 2 2 0
0 2 2 2 0
0 0 0
0 0 0
2 2 2 0
-
4 0
0 0 0
2 2 0
4 0
0 0
0 2 2 2 0
0 2 2 2 0
0 0 0
D
plain.
0 0
0 2 2 2 0
4 0
End Rhy. Fig. 1A
let ring
2 3 2 0
2 2
1
End Rhy. Fig. 1
let ring
3 3 0 0 2 3
2 2 0
4 0
0 0
2 0
A
can
2 X 3
I
2 0
and
2 0
0 0 0
A
2 2 2 0
0 0 0
2 3 2 0
3 0 0
3 3 2 0
2
3 0 0
2 3 2 0
2 3 2 0
2 3 2 0
0 3 2 0
3
Verse Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A
2. I
D
used
to
I
G
used
I
knew I’d
She’s bur - ied
her,
love
yeah,
in
my
in
my
back
I
so
to
I
had
to
had
A
kill
G
D
to
but
her,
had
yeah,
I
A
right
G
oo,
but
A
miss
(She’s bur - ied
her,
G
oo,
right
A
love
to
G
A
D
her.
A
kill
her.
A
keep
her.
yard.
Oh,
back
oh,
yard.)
Guitar Solo Gtr. 1: w/ Rhy. Fig. 1 Gtr. 2: w/ Rhy. Fig. 1A (1st 12 meas.)
D
A
yeah.
Gtr. 3 (elec.)
Oo,
mf
4
10 9
9
7
9
yeah.
1 hold bend
10
A
Whoa, oh, oh, oh,
w/ clean tone
9
G
7
9
7
7
1
9
7
10 9
9
9
9
7
10
11
D
A
G
1/2
10
12
10
10
12
10
12
G
10
17
17 15
16
12
17
16
15
17
17 15 17
16
15
hold bend
1 hold bend
17
17
16
15
17
15
17
17
15
0 X 3
2 X 3
2 X 3
2 0
2 0
4 0
2 2 0
14
15
17 15 17
17
16
15
16
loco
15
16
17
17
10 10
16
1
17
17
15
17
let ring
17 15
15
17
1 17
12 12
10
11
13 12
12
End Rhy. Fill 1
4 0
17
Rhy. Fill 1
Gtr. 2
1
A
D
17 15 17
17
X
1/2
17 17
10
1 hold bend
17 17
1
12
G
A
0 0 X 3
12
1/2
17
G 8va
10
17
17
17
10
1
1/2
Gtr. 3
12
12
A
8va
8va
yeah.
10
A
2 3 2 0
0
Verse Gtr. 1: w/ Rhy. Fig. 1 (1st 12 meas.) Gtr. 2: w/ Rhy. Fig. 1A Gtr. 3 tacet
D
3. I
used
to
love
A
her,
G
but
I
had
to
kill
A
her.
5
D
I
used
She
bitched
to
love
And now we’re
(And now we’re
0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
Gtr. 1
but
G
A6
hap
yeah,
-
pi
-
-
pi
this
-
er
she
drove
this
A
me
nuts.
way.)
3 3 0 0 2 3
3 3 0 0 2 3
2 2 2 0
2 2 2 0
X X X X
X X X X
2 3 2 0
2 3 2 0
2 3 2 0
0 2 2 2 0
0 2 2 2 0
her.
Yeah.
0 0 0
kill
way.
0 0 0
to
hap
er
had
D
I
A
much,
oo,
A
G
A
so
G
her,
G
A
3 2 0
2 3 2 0
2 3 2 0
Guitar Solo Gtr. 1: w/ Rhy. Fig. 1 (1st 13 meas.) Gtr. 2: w/ Rhy. Fig. 1A (1st 14 meas.)
D
A
Whoa,
Gtr. 3
let ring
12
6
11
13
10
13
11
11
oh,
G
A
let ring
let ring
9
10
9
10
8
8 9
3
Spoken: Take it for what it
11
3
yeah.
7
8
7
8
let ring
10
8
7
let ring
10 9
11
9
10 9
10 9
D
A
G
is.
3
1
7
5
5
7
7
5
7
7
9
9
9
7
7
7
9
9
1 hold bend 10
7
9
1 hold bend
10 10
7
9
8
7
8
7
10 10 7
9
1 hold bend
10 10 10
10 10 10
10
10 8 10
10
7 8 7
10
10
8
10
10
10
8
1/2
9 7
9
Gtr. 1
2 2 0
0 2 2 2 0
9
9 7
9
0 2 2 2 0
0 2 2 2 0
9
9
D
7
0 2 2 2 0
2 3 2 0
1/2
7 10
10
10 8 10
p 1
9
7
10 9
10
8
10
Gtr. 2: w/ Rhy. Fill 1 Gtr. 3
7 10 9
8
1/2
8 10 9
A
7
G
1 hold bend
8
9
10 10
1 hold bend
10 10 10
8
A
10
A
8
1 hold bend
10 10 10
9
7
1 hold bend
10 10 10
7
7
1 hold bend
10 10
1 hold bend
9
G
10
9
G
9
9
9
9
A
1/2
7
9
7
0 0
9
7
9
9
let ring 3 3 2 0
2
3 0 0
2 3 2 0
9
7
7
9
7
3 0 0
2 3 2 0
2 3 2 0
7
Verse Gtr. 1: w/ Rhy. Fig. 1 (1st 12 meas.) Gtr. 2: w/ Rhy. Fig. 1A (1st 12 meas.)
D
4. I
Gtr. 3 tacet
used
to
A
love
G
her,
but
Gtr. 3
I
had
to
A
kill
her.
5
D
I
G
G
And
(And
Gtr. 2
2 X 3
0 0 2 3
3 3 0 0 2 3
3 3 0 0 2 3
8
to
had
love
to
A
put
I
still
can
I
still
can
her,
0 0 0 X 3
Gtr. 1
used
I
A
yeah,
oo,
her
com
Free time D
-
hear
her
com
-
2 0
2 2 0
2 2 0
kill
six
un
feet
her.
A
-
der.
μ
2 3 2 0
2 3 2 0
2 3 2 0
2 0
3 3 0 0 2 3
3 3 0 0 2 3
0 2 2 2 0
0 2 2 2 0
0 2 2 2 0
to
2 X 3
0 2 2 2 0
had
plain.)
0 X 3
0 0 0
I
plain.
4 0
but
A
G
hear
oo,
her,
A
G
0 0 0
2 3 2 0
from Guns N’ Roses - Appetite for Destruction
Welcome to the Jungle Words and Music by W. Axl Rose, Slash, Izzy Stradlin’, Duff McKagan and Steven Adler
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately q = 101 μ [B5]
*Gtr. 1 (dist.)
f
P.M.
P.M.
**w/ delay & reverb ***
0
*Slash
4
0
4
4
4
0
4
4
0
4
delay off P.M.
4
0
4
4
0
2
0
2
4
0
4
2
0
2
0
0
2
**Set delay for dotted eighth-note regeneration w/ 2 repeats. *** = upstroke; = downstroke
Spoken: Oh,
†Gtr. 2 (dist.)
my
God!
Screamed: Oh,
ah.
7
9
mf
X
X
7
9
†Izzy Stradlin
††Gtr. 3 (dist.)
mf
2
4
††Slash
Gtr. 1
††† sim.
P.M.
2
4
0
4
4
0
2
0 4
0 4
2
0 2
0
0 2
4
0
4
2
0
2
0 4
0 4
2
0 2
0
0 2
†††Second string open is played with an upstroke, other notes are played with downstrokes.
Copyright © 1987 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
1
A5
G5
X
7
1/2
9
9
7
7
2
X
2 2 0
0 0 X 3
0
4
4
0
2
0
2
0
4
4
E5
2
0 2
0
0
P.M.
2
2
9
9
f
*
0
4
2
0
2
2
4
0 4
0 4
2
0 2
0
0 2
B
9
P.M.
9
12 11 9
12 11 9
10 9 7
fdbk.
2 2 0
2 2 0
4 4 4
2 2 0
Pitch: G# *Vol. swell to “10.”
P.M.
4
2
0
4
2
0
2
0 4
0 4
2
0 2
0
0 2
4
4
4
2
2
2
4
4
4
2
2
2
0
0
2
2
A
E5
10 9 7
0 0
9 9 7 0
X X X
X X X
5 4 2 2 0
2 2 2 0
P.M.
4
4
4
2
2
2
4
4
4
2
2
2
0
4
0
2
4
4
2
2
2
4
2
4
4
2
2
2
0
0
2
2
Gtr. 1 tacet
D
A5
B5
Cha!
Gtr. 2
let ring 1/2 hold bend
7 7 7 5
5
0
2 2 0
Gtr. 3
3 2 0
2
4
2
4
2
4
3
5
5
5
3
3 12
P.M.
2 2 0
4 4 2
2
5 5
2
4 2
4 2
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
4 4 2
13
3
Faster q = 122 *A5
G5
A5
G5
F#5
2 2 0
3
4
3
2
0 0
4 2
0
2 2
0
3
7 5
7 5
5 3
7 5
7 5
7 5
E5
5 3
A5
G5
A5
G5
F#5
E5
3
2
0 0
4 2
0
2 2 0
X X X
X X X
7 5
7 5
5 3
7 5
2 2 3
2 2
4
3
7 5
7 5
5 3
*Chord symbols reflect overall harmony.
A5
G5
A5
G5
F#5
E5
A5
0
2 2 0
2 2 0
X X X
G5
A5
X X X
X X X
2
2 3
0
4
3
2
F#5
E5
P.M.
5 2 2 0
G5
5
10
X X
X X
5
3
P.H.
7 5
7 5
5 3
X X
1
7
7
7 5
7 5
5 3
4 2
1/2
5
7
7
5
7
5
0
7
6
5
3
5
3
Pitch: A
Verse A5
G5
1. Wel - come
Rhy. Fig. 1
to
A5
the
G5
jun
-
X X X
X X X
2 2 3
4
X
5
3
5 3
4
1/2
5
2 2
5 3
P.M. 5
5
E5
A5
gle,
P.M.
2 2 0
F#5
5
3
G5
G5
F#5
we got
fun ’n’
X X X
2 2 0
X X X
2 2
0 0
0
5
3
P.M.
0
5
5
3
2 2
5 3
4
1/2
E5
games.
P.M.
4 2
2
A5
5 3
P.M. 5
5
5
3
4 2
2
0 0
P.M.
0
0
A5
G5
ev
G5
We got
A5
-
’ry - thing
P.M.
X X X
2 2 0
X X X
X X 3
2 2
X X
4
5 3
P.M.
5
3
P.M.
5
X
D5
peo - ple
Rhy. Fig. 2
5
5
E5
that
find
can
3
D5
4 2
7 7 5
Rhy. Fig. 2A
X X X
X X X
9 9 7
C#5
0
B5
X X X
7 5
7 5
6 4
4 2
6 4
4 2
9 9 7
9 9 7
7 7 5
X X X
9 9 7
7 5
the
G5
F#5
E5
We
are
the
names.
X X X
3
5 3
4
5
3
5
P.M.
1/2
5
X
D5
you
5
E5
may
9 9 7
X X X
9 9 7
5 3
5
End Rhy. Fig. 1
2
2
E5
know
2 2 0
P.M.
0
A5
P.M.
0 0
9 9 7
2
G5
hon - ey, we
what - ev - er
9 9 7
A5
1/2
5
E5
you want,
F#5
5
4 2
0
3
2
0
D5
C#5
B5
need.
9 9 9 7
5 5
4 4
2
7 7 7
X X X
9 9 7
7 7 5
X X X
9 9 7
7 5
6 4
4 2
X X X
5 5
5
E5
If
D5
you
got
the
9 7
X X X
9 9 7
E5
X X X X
9 9 7
7 7 5
X X X
-
Voc. Fig. 1
X X X
9 9 7
9 9 7
9 9 7
gle.
5
E5
4 4
2
we
got
X X X
9 9 7
4 2
D5
to
-
your
9 7
5 4
7 5
the jun
D5
(Ah,
E5
D5
dis - ease
C#5
B5
in
9 9 7
the jun End Rhy. Fig. 2
4
2
7 7 5
X X X
9 9 7
7 7 5
X X X
gle,
watch
it
bring
you
to
your,
X X X
5
9 9 7
9 9 7
5
7 5
End Rhy. Fig. 2A
6 4
4 2
End Voc. Fig. 1
ah.) Fill 1
Gtr. 4 (dist.)
Wel - come
B5
hon - ey,
5 7 7 5
X X X
C#5
mon - ey,
Chorus C5
D5
12 10 11 12
12 10 11 12
End Fill 1
f *w/ delay
X X X X
X X X X
*Set for quarter-note regeneration w/ 2 repeats. End Riff A
Riff A
3
2
Gtr. 2
Gtr. 3
5 5 3
6
5
3
3
P.M. 0
0
3
P.M.
0
0
5
4
7
5
7 7 5
7 7 5
0
Gtr. 4 tacet
E5
D5
Bb5
A5
G5
E5
sha, na,
na,
na,
na,
na,
na,
na,
na,
na,
na,
na,
D5
Bb5
A5
knees,
G5
E5
knees.
Riff B *Gtrs. 2 & 3
End Riff B
7
5
X
7
6
6
5
5
3
0
7
7
5
X
D5
6
5
5
3
0
*Composite arrangement
Bb5
D5
Uh,
7
A5
G5
E5
ah.
7
5
X
6
I
5
3
wan - na
watch
7
A5
G5
G#5
you
bleed.
P.H.
0
Bb5
5
6
5
3
4
Pitch: F
Verse Gtr. 2: w/ Rhy. Fig. 1
A5
G5
2. Wel - come
to
A5
the
G5
jun
-
F#5
E5
gle,
A5
G5
we
A5
take it
day
G5
by
day.
F#5
E5
Gtr. 3
P.M. 1/2 5
5
A5
If
you
P.M. 5
3
5
3
X
G5
A5
5
5
want it, you’re
gon
5
-
0
5
5
5
P.M.
3
2
0
G5
F#5
E5
na
but
P.M. 1/2 P.M. 3
3
bleed
2
0
5
A5
5
slight P.M.
5
G5
7
5
A5
it’s the
5
7
3
6
F#5
you pay.
And
you’re
P.M.
0
5
P.M.
0
5
5
5
3
4
5
5
5
5
G5
price
7
5
3
4
3
5
3
E5
a
5
7
5
6
7
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A
D5
ver - y
E5
You
sex
D5
can
E5
-
y
taste
the
D5
C#5
B5
girl
E5
C#5
bright
who’s
D5
E5
B5
lights
but
ver -
E5
you
y
hard
to
D5
D5
won’t
get
them
for
E5
E5
C#5
B5
please.
D5
D5
C#5
B5
in
the
free
jun -
Chorus Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 2: w/ Riff A
Gtr. 4: w/ Fill 1
C5
-
gle.
G5
Wel - come
to
the
jun
Gtr. 3
D5
-
gle.
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
A5
G5
0 0 X 3
5 5 3
Feel
my,
Gtrs. 2 & 3: w/ Riff B
E5
D5
Bb5
A5
my,
Bb5
A5
7
G5
E5
B5
ah.
7
5
X
7
5
X
6
X
5
3
7
8
6
5
3
5 5
7 7
ser
-
Bb5
pen
-
I wan - na hear
you
5 5
7 7
5
7
7 7
0
E5
tine.
scream.
7 0
0
Gtr. 3
my
Gtr. 2
D5
Uh,
E5
my,
D5
G5
4 4 2
4 4 2
4 4 2
4 4 2
0
0
Guitar Solo
E7
Gtr. 1
X X
Gtr. 2
12 11
13 12
12 11
13 12
0
X X
12
14
13 14
13 14
9 9 9 7
9 9 9 7
9 9 9 7
9 9 9 7
9 9 9 7
P.M.
7 6
0
0
0
13 14
X X
0
0
9 9 7
0
P.M.
9 9 7
6 5
12 12
X X
2
X X
Gtr. 2
0
4
7
0 3
2
0
12
13
X X
X X
9 9 7
X X X
9 9 7
0
15 13
X X
15 13
13 12
13 12
13 12
13 12
13 12
14 15
12 12 12 0
7 6
Oh,
0
oh.
15 16
X X
X X
0
15 15
X X
3
Gtr. 1
P.M.
Gtr. 3: w/ Rhy. Fig. 3 (2 times)
End Rhy. Fig. 3
6 5
12 12
Rhy. Fig. 3
Gtr. 3
15 15
6
3
0
X X 2
0
9
Uh,
8va
19
6 5
7 6
9 9
7 7 7
9 9 7
0
D5
D#5
E5
D5
D#5
3
18
uh,
17
17
6 5
7 6
9 9 7
E5
uh,
Gtr. 1
1
17
3
19
uh,
1
18
D5
15
16
15
loco
1 10
15
7 7
9 9
9 9
0
0
0
D#5
E5
D5
D#5
uh,
E5
uh,
uh.
loco
15ma
P.H. 1/2
10
10
1/2
7
10
10
1/2
10
8
10
8
9
7
7
8
7
7
7
5
9
8
8
12
Rhy. Fig. 4
Gtr. 3
P.M.
6 5
7 6
0
0
0
P.M.
9 9 7
0
9 9 7
6 5
7 6 0
0
8 8 6
9 9 7
7 7 5
8 8 6
9 9 7
7 7 5
8 8 6
9 9 7
7 7 5
8 8 6
9 9 7
7 7 5
10
12 12 12
Gtr. 2
12 12 12
9 9 7
End Rhy. Fig. 4
Verse Gtr. 1 tacet Gtr. 2: w/ Rhy. Fig. 1
A5
G5
3. Wel - come
to
A5
the
G5
jun
F#5
-
gle,
P.M.
5
P.M.
5
3
A5
it
gets
worse
here
8va
loco
Gtr. 3
E5
Harm.
P.M.
1/2
X
5
5
5
*
0
A5
ev - ’ry
G5
F#5
E5
day.
You
P.M. P.M. 7
1.75
3
G5
5
0
7
6
5
7
6
5
6
5
3
5
5
3
3
4
Pitch: C# *Harmonic located three-fourths the distance between the 1st & 2nd frets.
A5
learn
A5
to
live
like an
Gtr. 4
G5
an
-
F#5
E5
A5
G5
i - mal
in
the
jun
G5
-
gle
G5
where
we
A5
play.
F#5
If
you
E5
3
got
a
11
11
2
0
C#5
B5
1
9
11
Gtr. 3
P.M.
5
5
3
Gtr. 2
9 9 7
0
D5
5
X
5
P.M.
E5
for what
2
0
D5
C#5
B5
X X X
X X X
9 9 7
0
9 9 7
X X X
X X X
X X X
4
take it
X X X
3
you’ll
5
E5
you see,
7 7 5
3
hun - ger
1/2
Gtr. 3: w/ Rhy. Fig. 2A Gtr. 4 tacet
P.M.
5
5
5
0
2
0
D5
e - ven
E5
-
D5
0
tu’l - ly.
9 9 7
9 9 7
7 7 5
X X X
9 9 7
9 9 7
X X X
X X X
X X X
X X X
11
E5
D5
D5
can
have
an - y - thing
you want
9 9 9 7
9 9 9 7
7 7 7 5
X X X X
You
E5
9 9 7
C#5
B5
X X X
X X X
but you
X X X
X X X
X X X
D5
bet - ter not
take it from me,
9 9 7
E5
X X X
E5
D5
in
9 9 7
9 9 7
7 7 5
9 9 7
9 9 7
C#5
the
9 9 7
B5
jun -
0
0
Chorus Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 2: w/ Riff A
C5/G
-
gle.
Wel - come
Gtr. 4
G5
D5
to
-
gle,
watch
the jun
it
bring
you
to
12 12 12
12 12 12
7 7 5
7 7 5
7 7 5
7 7 5
X X X
X X X
Gtr. 3
5 3 3
5 3 3
5 3 3
0 0 X 3
A5
your,
7 7 5
Gtrs. 2 & 3: w/ Riff B Gtr. 4 tacet
E5
D5
Bb5
G5
E5
sha,
na,
D5
na,
na,
Bb5
na,
na,
A5
na,
G5
na,
na,
E5
Uh,
7
7
5
X
12
na,
I’m
*Gtrs. 2 & 3
*Composite arrangement
na,
6
5
3
0
E5
Bb5
A5
knees,
G5
E5
knees.
D5
gon - na
7
D5
5
watch
Bb5
A5
G5
3
0
you
bleed.
6
E5
na,
A5
5
Interlude D/A
G
D/A
Gtr. 2
let ring
7 7 7 5
12 12 10 10
10
0
10 10
7
10 10
let ring
13 12
12 12 10
7
10
2 3 2 0 0
12 12
3 3 0 0 2 3
2 3 2 0 0
7
Gtr. 5 (clean)
mf
8 7 7
7 7 7 5
0
12 12 10 10
G
10
10
let ring
3 3 0 0 2 3
3
Gtr. 3
*
let ring
2 0
0
0 *Roll back vol. knob.
Bridge D
And when you’re
G
high,
you
nev
-
13
12
let ring
7 7 7 5
7
6
7
3
2
0
2
12 12 10
er,
ev - er
12
10
10 10
7 7 7
7 7
wan - na
come
down,
10
2
0
let ring
10 10
0
D/A
10 10 11 12 12
3 3 0 0 2 3
7 7 5
7 7 5
3
**
5 5 3
0 0
**Vol. swell
13
Gtr. 5 tacet
G
F
so
7 8 7
7 8 7
7 8 7
7 8 7
7 8 7
5 3
5 3
5 3
5 3
Gtr. 2
G
F
down,
5 6 5
7 8 7
7 8 7
7 8 7
7 8 7
7 8 7
5 5 3
X X X
3 3 1
5 5 3
5 3
5 3
5 3
so
5 6 5
Gtr. 3
X X X
G5
F5
down,
5 3
A5
so
Gtr. 1
P.M.
5 3
8 6
3 3 1
down.
grad. bend
2 1/2 2
14
8 7 5
8 7 5
8 7 5
8 7 5
8 7 5
Gtr. 2
Gtr. 3
P.M.
P.M.
6 5 3
10 9 7
10 9 7
10 9 7
10 9 7
10 9 7
10 9 7
10 9 7
5 5 3
X X X
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
7 7 5
P.M.
3 3 5 5 3
14
5 3
5 5 3
5 3
X X X
3 3 1
Guitar Solo Gtr. 3: w/ Rhy. Fig. 3
Yeah.
Gtr. 1
1 15
Gtr. 2
1 15
1
15
1 15
E7
15 0
15
1/4
6 5
9 9 7
7 6
0
0
0
0 0 0
9 9 7
9 9 7
9 9 7
9
7
10
0
0
3
2
0
Gtr. 3: w/ Rhy. Fig. 4
1
1/2
12
12
14
15 14
1
15
14
15
12
15
Ow!
12 12 13
0
12 12 13 0
15 14
14 13
12 11
0
6 5
7 6
15 12
0
0
0
0
0
12
15
2
1/4
4
B7/A
4
4
4
B5
Bb5
loco
B5
C5
1
2
B5
Gtr. 1
B7/A
2
4
4
6
B5
P.H.
1/4
4
C#m
B5
C#m
6
1/4
5
1
7
7
6
Pitch: E#
*Gtrs. 2 & 3
let ring
4 5
6 6 4
6 6 4
4 4 2
4 0
4 2
4 0
4 2
3 1
4 2
6 6 4
6 6 4
6 6 4
5 3
let ring
4 5
6 6 4
4 4 2
*Composite arrangement
B5
C5
1 7
4 4 2
let ring 1/4
4 2
4 0
4 2
E6
E5
4 0
7 7
7 5
7
3 1
4 2
E6
1
C#5
Bb5
7
E6
0 3
0 2
0 0
0 0
2 2
2 2 0
2 0
2 0
4 0
P.M.
2 2 0
16
2 2 0
4 0
2 0
2 2 0
2 2 0
4 0
2 0
1
2
3
4
0
E5
0 2
4 0
4 2
B5
4
4 2
P.M.
1
4
4 4 2
6 6 4
E5
0 0
4
let ring
2 2
2 2
B7/A B5
6
1/2
0 5
6 6 4
6 6 4
6 6 4
5 3
E5
5
7
7
B5
1
5
6
4 2
B6
0 0
0 2
B5
0 2
1/4
2 2 0
3
B6
0 4
0 5
6
B7/A B5 B7/A B5
B5
0 1
4
4 2
4 2
6 2
4 2
4 2
6 2
4 2
E5
0
2
0
1
1
15
4 2
4 2
B6
2
B5
B6
0
3
1/2
6
6
6
B6
4
4
Interlude B Gtr. 1
6 2
4 2
4 2
6 2
2 2 0
0 0 0
B5
E5
2
4
4
4 2
1/2
10
10
8
4 2
6 2
4 2
2
0
9
7
2 2 0
4 0
9
9
7
7
9
7
7
6
0
3
0
4
4 4 2
F#5
0
2
4 2
B5
2 2 0
4 0
E5
1
10
10
1/2
4
4 4 2
15
E6
1/2
4
1
2
2 2 0
2 2 0
B5
6
E5
4 2
15
15
E6
9
1/4
4 2
1
0 0
2
P.M. P.M. 4 2
0
4 2
4 2
4 2
4 2
4 2
4 2
4 2
0 0
4 2
4 2
4 2
4 2
4 2
4 2
X X X X
*w/ delay w/ slide steady gliss.
3 3 3
Gtr. 2
11 11 11
*As before
4 4 4 2
Gtr. 3
4 4 4 2
4 4 4
steady gliss.
11 11 11
17 17 17
17
μ
15ma
steady gliss. *
34
33
31
30
30
29
28
27
26
24
17 17 17
15ma
*Hypothetical frets; located over pickups
Harm.
let ring
3 3 3
3
3
loco
5
11
12
12
X X X
X X X
Pitch: B F# D
15ma
X X X X X X
3
steady gliss.
19 10 10
string noise
1/2
2 2
2 2
0 0
2
0
X X
1
1
12
12
14
14
12 14
Riff C
End Riff C
P.M.
7
18
7
7
7
6
6
6
5
5
5
4
4
3
3
2
2
7
7
7
7
6
6
6
5
5
5
4
4
3
3
2
2
Gtr. 3: w/ Riff C (3 times) 8va
Gtr. 1
steady gliss.
*
6 13 13
10 10
steady gliss.
1
10 12
29 29
15
25 25
loco
8 8
0
7 7
Gtr. 2
7 9
*As before
1
12
12
15
15
12 15
5 7
Gtr. 6 (dist.)
mf
P.M.
5
5
5
4
You know
4
4
3
3
3
where you
3
2
2
1
1
0
0
5
5
5
5
5
are?
4
4
3
3
3
3
You’re
in
the
4
jun
-
2
2
1
gle,
ba
1
0
0
-
by.
steady gliss.
0 8 8
12 12
steady gliss.
7 7
1 1/2
12 12
11 12
7 8
6 7
P.M.
6
6
6
6
5
5
5
4
4
4
3
3
2
2
1
1
6
6
6
6
5
5
5
4
4
4
3
3
2
2
1
1
19
Gtr. 6 tacet
You’re
gon
Gtr. 1
steady gliss.
14 14
steady gliss.
11 12
-
die!
9 9
5 5
14 14
steady gliss.
6 7
F5
F#5
G5
3 1
7 8
na
Gtr. 2
1
1
12
12
12
15
15
15
9 9
5 5
1
15
15
Gtr. 1 tacet
F#5
G#5
A5
Bb5
In
the
A5
4 4 2
3 3 1
4 4 2
5 5 3
7 7 5
7 7 5
6 6 4
7 7 5
8 8 6
Gtrs. 2 & 3
jun -
0
Outro-Chorus Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 2: w/ Riff A
C5
-
gle.
Wel - come
Gtr. 4
to
the
jun
D5
Fill 2
Rhy. Fig. 5
5 5 3
20
Gtr. 3
G5
X X X
X X X
0 0 X 3
X X X
X X X
7 7 5
gle,
watch
it
bring
you
to
your,
X X X
X X X
12 12 12
12 12 12
End Fill 2
End Rhy. Fig. 5
Gtrs. 2 & 3: w/ Riff B Gtr. 4 tacet
E5
D5
Bb5
A5
G5
E5
sha,
na,
na,
na,
na,
na,
na,
na,
na,
na,
na,
na,
D5
Bb5
A5
knees,
G5
knees.
In
E5
the
jun -
Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 2: w/ Riff A Gtr. 3: w/ Rhy. Fig. 5
C5
-
gle.
Wel - come
Gtr. 4
to
the
jun
G5
D5
-
gle,
feel
my,
X X X
X X X
X X X
X X X
X X X
X X X
12 12 12
12 12 12
Gtrs. 2 & 3: w/ Riff B Gtr. 4 tacet
D5
oh,
my,
E5
Bb5
A5
G5
E5
D5
my,
-
my
Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 2: w/ Riff A Gtr. 3: w/ Rhy. Fig. 5
C5
Bb5
ser - pen
-
A5
G5
wel - come
D5
Bb5
to
the
jun
D5
Jun -
-
gle,
watch
it
bring
you
to
your,
A5
G5
E5
sha,
tine.
Gtrs. 2 & 3: w/ Riff B
E5
Gtr. 4: w/ Fill 2
gle,
E5
G5
na,
na,
na,
na,
na,
na,
na,
na,
na,
G5
to
the
jun
na,
na,
D5
Bb5
knees,
knees.
A5
G5
Down
in
E5
the
jun -
Bkgd. Voc.: w/ Voc. Fig. 1 Gtr. 2: w/ Riff A Gtr. 3: w/ Rhy. Fig. 5
C5
-
Gtr. 4
gle.
Wel - come
D5
-
gle,
watch
it
bring
you
to
X X X
X X X
12 12 12
12 12 12
your...
21
E
D
It’s
Gtr. 4
Gtr. 3
Gtr. 2
9 9 7
9 9 7
7 7 5
8 8 6
G
8 8 6
A
bring
7 8 8 6
7 7 5
9 9 7
gon - na
7 7 7 5
9 9 9 7
Bb
3
A
you
6 7 7 5
4 5 5 3
7 7 5
5 5 3
7 7 5
E
5 5 3
0 3 1 2 2 0
0 0 2 2
22
1 2 2 0
0
0
6 7 7 5
4 5 5 3
1 2 2 0
8 7 6 7 0
1/2
2 2 0
E7#9
Huh!
0 3 1 2 2 0
2 2 0
3
3
1/2
2 2 0
3
3
0 0 2 2
2 2 0
w/ bar
8 7 6 7 0
E
down!
Free time
G
0
fdbk.
0
-2 1/2
from Guns N’ Roses - Use Your Illusion II
You Could Be Mine Words and Music by Izzy Stradlin’ and W. Axl Rose G
F#
A
D
B
B5
DV
C# 4fr
3
1342
111
132
1333
134
5fr
1333
1333
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Fast q = 153
Gtr. 1 tacet
μ
Gtr. 1 (dist.)
* mf
Harm.
**
12
9
7
Pitch: G#
5
E
F#m
3
B
Gtr. 2 (dist.)
*** mp
string noise
14 14 14
X X
***Vol. control set to “4”
*Vol. control set to “7” **Pick sixteenth-notes while sliding in direction indicated in tab.
Gtr. 2 p
†
††F#5
mp
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
14 14 14
†Vol. fade and swell.
Gtr. 3 (dist.)
††† pp
2 2 2 ††Chord symbols reflect harmony implied by bass, next 24 meas. †††Vol. control set to “0,” then swell.
Copyright © 1991 Guns N’ Roses Music (ASCAP) and Black Frog Music (ASCAP) All Rights for Black Frog Music in the U.S. and Canada Controlled and Administered by Universal - PolyGram International Publishing, Inc. International Copyright Secured All Rights Reserved
1
fdbk. let ring E5
F#5
E5
8va
14 14 14
14 14 14 14 14 14
14
14
14
14
E
E
Pitch: C#
fdbk. f 2 2 2
2 2 2
2 2 2
Pitch: A
G#
Gtr. 1
F#5
*f w/ wah-wah
1/2
1
16 14 14
16
loco 14
9
9
19
2
Riff A
14 14
16
14 14
4 4
12 12
1/2
X X
14 14
14 14
Riff A1
P.S.
X X
12 12
1/2
16 16
16 16
16
14 14
14 14
1/2
Gtr. 3
2 2 2
14 14 14
*Vol. control set to “10”
8va
Gtr. 2
16
1/2
4 4
2 2
4
2 2 2
2 2
2 2
0 0
14 14
12 12
12 12
12 12
X X
X
12 12
3 3
16
X X
F#5
Gtr. 1
X X
14 14
14 14
16 16
16 16
1/4
14 14
Riff B1
Gtr. 3
4
2 2
14 14
16
2 2
1/4
4 4
2 2
X
16
14 14 14
14 14 14
X
14 14
1/4
16 16
14 14
14 14
14 14
16
4 4
2 2
4
2 2
1/4
1/2
2 2
2 2
16
14
1/2 1
14 14
12 12 12
14
12 12
12 12
X X
X X
1/2 14 14
E5
1/2
16
1
12 12
1/2 4 4
End Riff A1
12 12
14
1/2 16 16
1/2 4 4
Riff B
Gtr. 2
14 14 14
14 14
12
16 14 14
16
14
14 14 14
16
14 14 14
1/2
1
16
E5
1/2
14 14 14
16
14
End Riff A
2
Gtr. 1
1
14
Gtrs. 2 & 3: w/ Riffs A & A1
F#5
14 14
12 12
2 2
0 0
12 12
12 12
14
3 3 2
3 3
14 14
14 14
1/4
1/4
12
1/2
14 14
14 14
E5
12 12
1/2 2 2
2 2
0 0
3
F#5
1/2
1/4
3 3
1/4
14
12 12
12 12
2 2
12 12
12 12
14
12 12
12 12
2
3 3
14 14
4 4
4 4
2 2
12 12
12 12
12 12
3
12 12
1/4
2
14 14
14 14
16
1/4
3 3
3 3 2
14 14
14 14
1/4
1/2
2 2
12 12
2 2
2 2
0 0
9
1/2
9
2
P.M. 2 2 0
End Riff B1
14 12 14 12 12
14 14
2 2
4
7
End Riff B
14
1/4
3 3
16 16
1/4
12 14
X X
9
1/2
14
1/4
12 12
1/4
12 12
14
1/4
16 16
2 2
1/4
3 3 2
2 2
4
1/4
3 3
4
16
1/2
1/4
14
12 12
1/4
2
14 14
1/4
14
14
1/4
14
14 14
16
1/4
14
12 12
14 14
4 4
4 4
2
E5
16 16
1/2
3 3
16 16
16 14 16 14 14
1/4
1/2
12 12
12 12
14
1/2 1
16 16
1/4
14 14 14
16
16 14 16 14 14
16 16
6
1/2
12
14
2 2 0
2 0
2 0
2 0
2 0
2 0
4 2 2 0
4 2 2 0
4 2 2 0
4 2 2 0
4 2 2 0
P.M.
4 2 2 0
2 0
2 0
0 0
E
13
13
1 2
1 2
1 2
1 2
2
14
1 2
1 2
1 2
6 7 0
6 7 0
6 7 0
6 7 0
6 7 0
E5
slight P.M. 1 2
Esus4
6 7 0
6 7 0
6 7 0
14
2
2 2
2 2
2 2
2 2
2 2
2 2
2 2
7 7 0
7 7 0
7 7 0
7 7 0
7 7 0
7 7 0
X X
2 2
2 2
4 4
2 2
4 4
2 2
4 4
0 0
7 7 0
16
0 0
2 2 2
0 0
4 4
2 2
4 4
2 2
4 4
2 2
2 2
F#5
Gtr. 1
fdbk.
1
16
16
16
Pitch: G#
*Gtrs. 2 & 3
4 4
4 4
Rhy. Fig. 1
4 4 2
X X
X X
2 2
4 4
2 2
4 4
2 2
4 4
2 2
4 4
0 0
4 4 2
4 4
4 4
X X
X X
2 2
4 4
*Composite arrangement
5
E5 Gtr. 1
16
Gtr. 4 (dist.)
mf
* 1
5
5
Gtrs. 2 & 3
4 4
5
2 5
5
2 2
4 4
2 2
4 4
2 2
4 4
0 0
X X X
2 2 0
0 0
X X X
0 0
0 0
2 2 0
2 2
4 4
2 2
4 4
2 2
1. Oh,
16
4 4
0 0
I’m
a
16
1
1
2
4
4
6
1
1
*Vol. swell
F#5
5
2
4
2
4
2
2
5
2
4
5
2 2
4 4
2 2
4 4
2 2
2
4
4 4 2
4 4
X X
4 4
2 2
4
2
1
X X
4 4
End Rhy. Fig. 1
4 4
2 2
VerseGtr. 1 tacet
2nd time, Gtr. 4: w/ Fill 1
-
break - er, come,
and
fit then
to they
Gtr. 4
4
Gtr. 3
P.M.
2 2 4
X
burn, go.
your rip noth - in’
I’ll It’s
heart new
in
two, to - day.
1/4
2 2
2 2
2 2
2 2
4
and
P.M.
2 2 X
4 4
2 2
heart cold hol - i - days
Gtr. 4 tacet
F#5
P.M. 1/4
4 4
2 2
P.M.
2 2 4
2
4
2 2 X
X
2 2
4
Gtr. 2
4 4 2
Fill 1
Gtr. 4
14
16
14 14
14 14
X X
7
and I’ll Col - lect
Gtr. 3
leave an - oth
P.M.
2 2
4 4
2 2
4 4
4
0
2
0
1 2 2 0
X
4 4 2
F#5
3 3 1
3 3 1
0 0
let ring
P.M.
4
4 4 2
8
X
X
P.M.
6
2 2
X X
2 2
be When
4 4
bed.
P.M. 1/4
2 2
4 4
2 2
4 4
2 2
4
out I
the come
2 2
4 4
2 2
4 4
2 2
2
0 0
2 2
4 4 4
2 2
4 4
2 2
4 4
0 0
4 4 2
be -
home
2 2 4 4
door
P.M.
2 2 4
the -
1
Well, I’ll
on o
0 0
ry.
in’ -
0 0
2
-
3 3 1
ly mem
1 2
X
Gtr. 2
P.M.
0 0
2 2
you er
-
E5
4 2
4 2
2 2
2 2
4 2
4 4 2
X X
X X
4 4
4 4
fore late
you
wake. night,
at
It’s don’t
4 4
E
2 2
4 4
2 2
2 2
4 4
2 2
2 2
think count
1 2
1 2
X 2
7
0
4 4
0 0
5
0 0
0
4
2 2
4 4
X X
4 4
X X
4 4
0 0
4 4
2 2
X X
F#5
ie too. a - gain,
2
2 2
4 4
4 4
X X
2 2
4 4
2 2
4
0
4 4
2 2
2 2
X X 4
X X
4 4
4 4
4 4
4 4
0 0
0
’Cause
P.M.
4
4 4
2 2
2 2
4
4 4
4 4
P.M.
2 2
ow.
P.M.
P.M.
4 4
ow.
2
2 2
4
ah,
I Just
P.M.
2 2
4 4
P.M.
mov home
2
’cause
1/4
4 4
you, been.
that I’m
2 2
4
P.M.
0
2 2
2
2 2
4
seen stars
P.M.
0 0
2
P.M.
we’ve your
let ring
0
4 4
4
to
4 4
2 2
new where I’ve
me
noth - in’ ask
P.M.
2 2
4 4
2 2
4 4
2 2
4 4
0
0
2 2
4 4
2 2
4 4
2 2
4 4
0 0
9
Chorus A5
B5
you
could
*Gtrs. 2 & 3
let ring
but
you’re
let ring
4
4
2
mine,
let ring
2
2
0
be
F#5
2
4
4
*Composite arrangement
A
B5
way
let ring
2
Gtr. 2
2
let ring
10
let ring
4
4
With your
4
4 4
let ring
4
2 2
2
let ring
line.
2
2
of
2
2
out
Gtr. 3
F#5
4
4
let ring
4 2
4
4 2
4
4
2
4 4
X X
4 4
X X
X X
X X
To Coda 1
A5
bitch - slap
rap - pin’ and your
let ring
0
2
0
in’
done.
I said,
7 X 5
6 X 4
4 X 2
0
2
4
4
4
2
F#5
4 2
4
4
4
4
2
mine,
4 X 2
6 X 4
4 X 2
P.M. P.M. P.M. P.M.
4
4
2
0
be
let ring
2
0
0
B5
could
let ring
4
-
4
4
noth
let ring
you
*Gtrs. 2 & 3
you get
F#5
4
2
X X
X X
tongue,
4
4
2
A5
let ring
2
2
0
2
2
2
co - caine
let ring
0
B5
To Coda 2
ow.
2 2 2
4 4 2
4 4 4
2 2 2
4 4
2 2
4 4
2 2
2 2
*Composite arrangement
Interlude Gtrs. 2 & 3: w/ Rhy. Fig. 1
F#5
Gtr. 4
**fdbk.
**fdbk.
X
1
X 17
**Microphonic fdbk., not caused by string vibration.
E5
17
17
14
16
14
17
F#5
3
1
14
14
14
17
17
1/2
17
14
17
14
16
16
14
11
Coda 1
D.S. al Coda 1
2. Oh,
Gtr. 4
noth
16
14
17
14
14
16
-
Rhy. Fill 1A
in’
done.
I
said,
Gtr. 3
1/2
16
F#5
16
7 X 5
Gtr. 2
End Rhy. Fill 1A
6 X 4
4 X 2
0
Rhy. Fill 1
6 X 4
4 X 2
4 X 2
End Rhy. Fill 1
4 4 2
A5
B5
C#5
could
you
0 0
be
μ
mine.
Gtr. 1
Gtr. 4
Gtr. 4 divisi
X X
Gtr. 2
let ring
0
Gtr. 3
2
let ring
2 2
4
4
X X
6
1/2
X X
16 16
14 14
16 16
16 16
14 14
2
0
16 16
1/2
6 6 4
6 6 4
1/2
fdbk.
2 2 0
4 4 2
6 6 4
6 6 4 Pitch: B
12
2
Interlude Gtr. 2: w/ Riff A (2 times) Gtr. 4 tacet
F#5
E5
Gtr. 1
16
Gtr. 3
14 14
14 X 14
X
12 12
1/2
14 14 14
14 14 14
1
12 12 12
12 12 12
14
1/2
X X
X X
14 14
1/2
2 2 2
16 16
16 16
1/2
2 2
2 2
3 3
0 0
4 4
4 4
2
2 2
2
Gtr. 3: w/ Riff A1
F#5
You could
Gtr. 1
be
mine,
E5
1/2
16
14 14 14
14 14 14
X X
X X
X X
X X
X X
14 14
14 14
12 12
14
12 12 12
Gtrs. 2 & 3: w/ Riffs B & B1
you could
be
mine.
1/2 1
12 12 12
7
X X
X X
16 16
16 16
14 14
16 16
F#5
14 14 14
Whispered: You
1/2 1
X X
16 16
16 16
14 14
16
14 14 14
14 14 14
could
be
mine,
1/2
X X
14 14
14 14
12 12
13
E5
14
12 12 12
12 12 12
X X
X X
14 14
14 14
12 12
14
12 12 12
You
could
be
mine,
could
be
mine.
14 14 14
X X
14 14
14 14
12 12
16 16
14 14
1/2
12 12
14
14
12 12
14
man - y
D
16 16
mine.
1/4
12 12
X X X
1/4
A
12 12
14
12 12
End Rhy. Fig. 2A
times.
Gtr. 1 tacet
A
too
12 12
14 14 14
14 14 14
16
mine,
1/4
sketch - in’
14 14
G
1
16 16
16 16
1/4
14
you’ve been
mine,
F#
Gtr. 1 Oo,
you
X X
*G Rhy. Fig. 2A
12 12 12
E5
Bridge
Gtr. 3
1/2
1/2
14 14 14
1/2
16
F#5
12 12
Gtr. 2
Rhy. Fig. 2
0 0 X 3
X X X X
X X X X
4 4 2
X X X
0 0 X 3
X X X X
X X X X
2 2 0
X X X
*See top of first page of song for chord diagrams pertaining to rhythm slashes.
14
0 0 0
3 2 0 0
3 2 0 0
2 2 0
2 2 0
End Rhy. Fig. 2
0 0
0 0
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A
G
F#
G
Oo,
why don’t you
G Gtr. 3
A
F#
give
0 0 X 3
A Gtr. 3
it
a
rest?
G
A
must
you
B
find
X X X
4 4 2
X X X
X X X
0 0 X 3
X X X
0 0
4 4 2
4 4 2
4 4 2
4 4 2
X X X
2 2 0
X X X
Why Gtr. 2
D
G
F#
D
(cont. in notation)
rea - son
to
cry?
X X X
X X X
7 7
7 7
7 7
2 3 2 0
2 3 2 0
2 3 2 0
an - oth - er
Gtr. 5 (dist.)
B5
f
Gtr. 2
2 2 0
0 0 X 3
X
X
4 4 2
X X X
X X X
9
4 4 2
15
9
*Gtrs. 2&3
Gtr. 5
X X X
9 9
9 9
X X X
4 4 2
9 9
9 9
X X X
4 4 2
4 4 2
4 2 2
X X X
B5
1/2 1
Rhy. Fig. 3
4 4 2
1/2 1
7 7
D5
Guitar Solo B5
9
7
9
1/4
9 9
7 7
9 9
4 2 2
4 4 2
X X X
9 9
7 7
3 2 0
3 2 0
3 2 0
9 9
7
9 9
7 7
9 9
7 7
X X X
4 4 2
4 4 2
4 2 2
X X X
X X X
4 4 2
4 4 2
9 9
*Composite arrangement
D5
A5
D5/A
A5
D5
B5
6
6
3
3
1/2 1
9 9
9 9
9 9
7
4 4 2
4 2 2
4 4 2
X X X
9
9
7 7
9
9
7
3 2 0
3 2 0
3 2 0
6
7
6
2 2 0
7
7
7
6
6
9
9
2 2 0
X X X
2 0 0
2 2 0
X X X
X X X
9
9
9
7
9
9
9
7
9
8
2 2 0
2 2 0
X X X
3 2 0
3 2 0
3 2 0
4 4 2
Gtrs. 2 & 3: w/ Rhy. Fig. 3
D5
3
1/2
1/4
1/2
7
7
5
7
7
7
5
7
7
4 4 2
4 4 2
X X X
4 2 2
4 4 2
X X X
4 4 2
16
X X X
End Rhy. Fig. 3
5
7
4 4 2
X X X
1 10
10
7
3
10
7
7
4 2 2
2 1/2
X X 9
B5
3 2 0
3 2 0
3 2 0
4 4 2
7 7
1/2
10
D5
B5
Gtr. 5
A5 D5
3
3
3
1
7
10
7
10
9
10 9
7
10
9
10
7
9
7
10
7
9 12
10
12 10
12
10
12 10
8va D5/A A5
17
19 17
17 18
B5 Gtr. 2
D5
19 17
17
18
Gtr. 5
Gtr. 3
4 4 2
15
16
14
18
19 17
17
17 16 14
19 17
1
18
17
loco
3 1/2 17 17 17
18
C#
break - in’ down my back and
1
17
Rhy. Fig. 4
1
17 17
18
17
17 14
B5
Bridge B
While you’re
19 17
17
14
I been
rack - in’ out
my brain,
it don’t
14
16
14 12 14
12
4 4 2
X X X
X X X
4 4 4 2
4 4 4 2
6 6 6 4
6 6 6 4
17
V
D
Gtr. 2: w/ Rhy. Fig. 4 (2 1/2 times) Gtr. 5 tacet
C#
mat - ter
how
we make
it ’cause
it
al
-
ways ends
B
End Rhy. Fig. 4
the same.
You
can
push
it
for
more mile - age
but
your
16
Harm.
7 7 7 5
bend neck
7 7
7 7
4 4 4 2
4 4 4 2
7 7 -1/2
C#
flaps are wear
-
in’
thin, and I
could
Gtr. 3
6 6 6 4
B
4 4 4 2
18
to
call
my
law - yer with
ri
6 6 6 4
7 7 7 5
it
’til
-
dic - u - lous
6 6 6 4
morn - in’
but
this
C#
night - mare nev - er
4 4 4 2
sleep on
C#
get
D
de - mands,
and you
ends.
Don’t for -
7 7 7 5
6 6 6 4
D
can
take
6 6 6 4
7 7 7 5
the
pit - y
so
far,
Harm. bend neck
7 7
but it’s
B
C#
more than I
can
stand.
’Cause this
couch trip’s get - tin’ old
7 7
er,
how long has it
been?
’Cause
4 4 4 2
4 4 4 2
7 7
tell me,
bend neck
-
C#
6 6 6 4
6 6 6 4
-1/2
DV Gtr. 2
five years
is
for - ev - er
and
D.S.S. al Coda 2
you
have - n’t grown up
Gtr. 3
7 7 7 5
A *Gtrs. 2 & 3
done.
I
said,
11 X 9
9 X 7
11
11 X 9
9
yet. Oo.
noth
7 5
6 4
Gtrs. 2 & 3: w/ Rhy. Fills 1 & 1A
F#5
14 X 12
13 X 11
B
could
16 14
be,
16
14
in’
-
Gtr. 5
you
Coda 2
16
16 14
14
*Composite arrangement
19
A
16
16
could
16 16
14 14
16 16
14 14
16
14
2 2 2
4 4
2 2
16
16 14
4 4
2 2
4 4
0 0
Voc. Fig. 1
Gtr. 5
16
20
14 14
16
14 14
16 16
16
X
3
X
X
4 4 2
4 4
X X
X X
2 2
14
16
Rhy. Fig. 5
16
16 16
you could be
mine,
4 4
1/4
14 14
16 16
14 14
16 16
14 14
16
14
End Rhy. Fig. 5
2 2
4 4
4 4
2 2
4 4
2 2
4 4
0 0
Bkgd. Voc.: w/ Voc. Fig. 1 (6 times)
16 16
14 14
End Voc. Fig. 1
ay. (You could
14
16 14
Gtrs. 2 & 3: w/ Rhy. Fig. 5 (7 times)
16
14
Oh,
mine.
1/4
14 14
16
Gtr. 5
Outro F#5
be
(cont. in notation)
you
14
be,
16
B5
14
0 0
should
16
you
Gtrs. 2 & 3
A
B
be
16
14 14
mine.)
16
16
You could
14 14
16
16 16
14 14
be
mine.
16
14
16
14 14
16
16
14
16
Oh,
you could be
mine.
16
14 14
16 16
14 14
16 16
14 14
You could
1/4
16
14
16
16 16
16
14 14
16 16
16
you could
be
1
14
17
14
1
14 17
14
17
Oh,
you could
be
1
14
17
1
14
17
1
17
14
14
17
14
17
14
1
14 17
16 16
14 14
14
1
14 17
14
17
you could
be
mine.
1
14
16 16
1
14
Oh,
1
17
14
14 14
1
17
8va
16 16
mine.
14 14
1
17
17
16 16
mine.
8va
1
mine.
1/2 1
16 16
Oh,
be
1/2 1
14 14
14
17
1
14
17
1
17
17
14
14
21
loco
1
17
14 16
You
could
be
mine,
14
12
1/2
14
17
16
14
16
14
1/4
14
16
15
14
12
14
12
Free time Gtrs. 2, 3 & 5 tacet
μ
yeah.
Gtr. 5
1/2
14
14
1
Gtrs. 2 & 3
4 4
22
4 4
2
from Slash - Apocalyptic Love
You’re a Lie Words and Music by Slash and Myles R. Kennedy
Tune down 1/2 step: (low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro Moderately fast q = 128 * F#sus4
Gtr. 2 (dist.)
f
4 4
F#
3 4
C#m
A5
Asus4
2 2
1 2
2 4
6 6 4
Gtr. 1 (dist.)
f
4 4 2
6 6 4
E5
2
4
2 0
2 2 0
2 2 0
*Chord symbols reflect overall harmony.
G5
G,7
D/F#
let ring
5 5
4 5
5
E5
F#
**T
4 5
4 5
0 0 X 2 2 0
2 3 4 4 2 **T = Thumb on 6th string
3 3 0 0 X 3
3 2 0 X 2
2 2 0
3 4 4 2
2
© 2010, 2012 DIK HAYD MUSIC, EMI APRIL MUSIC INC. and HAPPY PAPPER MUSIC All Rights for DIK HAYD MUSIC Administered by WB MUSIC CORP. All Rights for EMI APRIL MUSIC INC. and HAPPY PAPPER MUSIC Administered by SONY/ATV MUSIC PUBLISHING LLC, 8 Music Square West, Nashville, TN 37203 All Rights Reserved Used by Permission
1
C#5 E5
F#5 F5 E5
C#5 E5
F#5 F5 E5
C#5 E5
F#5 F5 E5
B5
F#
8va
Harm.
T
6 4
9 7
2 0
4 2
3 1
0
6 4
9 7
2 0
4 2
3 1
0
6 4
9 7
2 0
4 2
3 1
0
*
2 3 4 4 2
4 4 2
1.6 4
Pitch: B G# *Harmonic located two-thirds the distance between 1st & 2nd frets.
C#5 E5
F#5 F5 E5
C#5 E5
Rhy. Fill 1
F#5 F5 E5
C#5 E5
F#5 F5 E5
Rhy. Fig. 1A loco
4 4 2
3 4 4 2
B5
F#
End Rhy. Fill 1
X X X
X X X
End Rhy. Fig. 1A
T
6 4
9 7
2 0
4 2
3 1
0
6 4
9 7
2 0
4 2
3 1
0
6 4
9 7
2 0
4 2
3 1
0
Rhy. Fig. 1
6 6 4
9 9 7
4 4 2
2 2 0
3 3 1
0
6 6 4
9 9 7
4 4 2
2 2 0
3 3 1
0
6 6 4
9 9 7
3 3 1
4 4 2
2 2 0
0
2 3 4 4 2
4 4 2
4 4 2
End Rhy. Fig. 1
4 4 2
0
Gtr. 1: w/ Rhy. Fig. 1
C#5 E5
F#5 F5 E5
C#5 E5
F#5 F5 E5
C#5 E5
F#5 F5 E5
B5
P.M. P.M. P.M. Gtr. 2
6 6
2
9 9
0
9 8
0 0
6 6
9 9
0
9 8
0 0
6 6
9 9
0
9 8
0 0
9 9
7 8 9
F#
1. You’re
the
7 6 8
7 6 8
Verse Gtr. 2 tacet
C#m
G#/B#
of
rea - son that I
can’t
voice
cut
me
es - cape,
F#/A#
E
down
a thou - sand times
a
day.
I don’t
need
Rhy. Fig. 3 Gtr. 4 (slight dist.)
mp
P.M.
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 3
Rhy. Fig. 2 Gtr. 3 (slight dist.)
6 3
6 3
6 3
6 3
6 3
6 3
6 3
6 7
mf
*w/ delay
4 4 5 6 6
4 5 6 6 4
6 7
6 7
6 7
6 7
6 7
6 7
6 7
4 1
4 1
0 0 1 2 2 0
2 2 3 4 4
4 1
4 1
4 1
4 1
4 1
4 1
End Rhy. Fig. 2
4 5 6 6 4
*Set for quarter-note regeneration w/ 7 repeats.
Gtr. 3: w/ Rhy. Fig. 2 (2 1/2 times)
C#m
you
an - y
-
G#/B#
more.
E
I don’t need
you
an - y
-
F#/A#
more.
I
trust -
Gtr. 4
End Rhy. Fig. 3
P.M.
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 3
6 3
6 3
6 3
6 3
6 3
6 3
6 3
2 2
2 2
2 2
2 2
2 2
2 2
2 2
2 2
4 1
4 1
4 1
4 1
4 1
4 1
4 1
4 1
Gtr. 4: w/ Rhy. Fig. 2A (1st 6 meas.)
C#m
-
ed
you
when there was
G#
no
one
else.
All
E
you
did
was make me
Gtr. 2
Riff A
P.M.
7 7 5 5
6 6
7 7 5 5
6 6
7 7 5 5
5 5 4 4
5 5
5 5 4 4
5 5
5 5 4 4
7 7 5 5
4 4
7 7 5 5
4 4
7 7 5 5
3
F#
doubt
my - self.
C#m
Don’t be - lieve
you
an - y
-
G#
more.
Don’t be - lieve
End Riff A P.M.
9 9 7 7
6 6
9 9 7 7
6 6
9 9 7 7
E
you
an - y
-
7 7 5 5
6 6
7 7 5 5
6 6
7 7 5 5
F#
5 5 4 4
A
more.
You
5 5
5 5 4 4
5 5
bled
me
5 5 4 4
out,
you
tore
Riff B
Gtr. 2
P.M.
7 7 5 5
4 4
7 7 5 5
4 4
7 7 5 5
9 9 7 7
6 6
9 9 7 7
6 6
9 9 7 7
Gtr. 4
9 9
12 12 10 10
9 9
12 12 10 10
Rhy. Fig. 4A
P.M.
2 2
Gtr. 3
0 0 1 2 2 0
4
12 12 10 10
2 2
2 2
2 2
2 2
2 2
2 2
2 2
4 1
4 1
4 1
4 1
4 1
4 1
4 1
4 1
2 0
Rhy. Fig. 4
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 2 0
delay off
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
me
down.
F#
Your
G#
time
has
come,
you
can
μ
go.
(’Cause you’re
P.M.
12 12 10 10
9 9
12 12 10 10
9 9
12 12 10 10
12 12 11 11
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
11 11
12 12 11 11
11 11
12 12 11 11
13 13
13 13
13 13 11 11
10
11
4 2
4 2
6 4
6 4
6 4
4 2
4 2
4 2
4 2
4 2
6 4
6 4
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 2 0
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
2 2 3 4 4 2
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
2 2 2 0
2 2 2 0
End Riff B
4 2
a
End Rhy. Fig. 4A
End Rhy. Fig. 4
Chorus Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A (2 times) Gtrs. 3 & 4 tacet
C#5 E5
F#5 F5 E5
ar,
li
-
-
F#5 F5 E5
Screamed: Lie!
li
-
C#5 E5
B5
Sung: All
my
faith has been
wast
F#5 F5 E5
-
ed,
F#5 F5 E5
wast
-
ed.
’Cause you’re
C#5 E5
F#
ar.
Lie!
C#5 E5
Lie!
li
F#5 F5 E5
Screamed: Lie!
C#5 E5
C#5 E5
Sung: I
ar,
li
-
F#5 F5 E5
don’t
need you to
B5
save
me
F#
an - y
-
a
more.
ar.)
5
Verse Gtr. 3: w/ Rhy. Fig. 2 Gtr. 4: w/ Rhy. Fig. 3
C#m
G#/B#
2. I’m
frag - ile but I’m
not
a
Gtr. 2: w/ Riff A
C#m
me
an - y
-
fool.
I
G#
more.
You won’t hurt
an - oth - er
word
E
me
an - y
-
from you.
You won’t hurt
F#
0 0 1 2 2 0
2 2 3 4 4 2
more.
4 4 5 6 6
4 5 6 6 4
hear
Gtr. 3
won’t
F#/A#
E
The hand
delay off
0
Gtr. 2: w/ Riff B Gtrs. 3 & 4: w/ Rhy. Figs. 4 & 4A
A
I
held
has
F#
held
me down.
It
took
G#
so
long,
now I
μ
know.
(’Cause you’re
a
Chorus Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A (2 times)
C#5 E5
F#5 F5 E5
ar,
li
-
C#5 E5
F#5 F5 E5
Screamed: Lie!
li
6
-
F#5
F5 E5
Sung: All
my
faith has been
B5
wast - ed,
F#
F#5 F5 E5
C#5 E5
Sung: I
ar,
li
-
ar.)
-
ed.
’Cause you’re
C#5 E5
wast
ar.
Lie!
C#5 E5
-
Lie!
li
F#5 F5 E5
Screamed: Lie!
C#5 E5
F#5 F5 E5
B5
won’t
sit here and
take
this
F#
an - y
-
a
more.
Bridge A5
You can
say
2 2 0
P.M. 2 2 0 0 0 0 0
5 2 2 0 0 0
2 2 0
an - y - thing
P.M.
Gtr. 2
F#5
2 2 0
4
4
2
2 2 0
2 2 0
2 2 0
2 2 0 0 0 0 0
long
gone and turned a - way.
0
5 5 2 2 0 0 0
2 2 0
0
4
3
-
2
0
4 4 2
0
4 4 2
4
0
3
4
4
4 4 2
0
F#5
2 2 0
4 4 2
4 4 2
4 4 2
4 4 2
4
you were on - ly the en - e - my. Ev
P.M. P.M.
let ring P.M.
4 4 2
0
lie,
0
2 2 0
You’re such a
F#11
my at - ten - tion is
P.M.
2 2 0
but
Gtr. 1
A5
that you wan - na say,
’ry
-
thing
you
4 4 2
4 4 2
4 4 2
are
4 4 2
G#5
2
I
6
will
6
4
6 4
6 4
4 4 2
*P.M.
8
6 4
de - ny.
0
6
6 4
8
10
8
9
12
6 6 4
6 6 4
6 6 4
6 6 4
*Gradually lift P.M.
7
Guitar Solo
C#m
G#
1 12
12
11
12 9
12
11
4 5 6 6 4
4 5 6 6 4
4 5 6 6 4
0
4 4 5 6 6 4
4 4 5 6 6 4
0 0
Gtr. 1: w/ Rhy. Fig. 5 (2 1/4 times)
C#m
Gtr. 2
12
0
12
11
5
14
12
0 0 1 2 2 0
0 0 1 2 2 0
0 0
1
14
0
14
17 16 14
17 16
14
14
17 16 14
16 15
9 11 12
2 2 3 4 4 2
2 2 3 4 4 2
X X X X
2 2 3 4 4 2
12
G#
14 12
14
1
16
2 2 3 4 4 2
0 0
12 11
11
14
14 12
0 0
1
14 16 14
1
16 14
12
1/2 hold bend
14
C#m
9
End Rhy. Fig. 5
1
F#
0
0 0
0 0 1 2 2 0
0 0 1 2 2 0
1
E
12
loco
11
P.M.
grad. release
16
8
12
12
1/2 12
1
14
1 17
9
C#m
1
14 12
11
1 14
4 4 5 6 6 4
4 4 5 6 6 4
1/2
12
E 8va
P.M.
1/2
12
F#
G#
1
11
1
P.M.
4 5 6 6 4
F#
Rhy. Fig. 5
E
16
16
16 14
16
G#
Gtr. 2
4 4 5 6 6 4
4 4 5 6 6 4
P.M.
4 4 5 6 6 4
4 4 5 6 6 4
0
0 0
A5
1
0 0 1 2 2 0
0 0 1 2 2 0
P.M.
0 0 1 2 2 0
19
19 17
19
18
0 0 1 2 2 0
4 4 2
4 4 2
0
4 4 2
4 4 2
4 4 2
0 0
loco
7
6
7
3
1
1
19
19
5 2 2 0
5 2 2 0
19 17
19 17 19 17 16 17
5 2 2 0
5 2 2 0
5 2 2 0
16 17 16
15 16 14 16 14 12 14 12 14 12 11 12 11 12 11
5 2 2 0
F#
19
16
3
8va
F#5
1
18
0
B5
17
8va
18
Gtr. 1
1
16
17
E
7
1
19
5
1
19 17 19 17 19 17 16
16
17 16 17 16
19
16
19
16
19 17
5 2 2 0
5 2 2 0
0
0
1
19
17
loco
G#
10 11 9 11 9
19 19
16
2 2 3 4 4 2
2 2 3 4 4 2
X X X X
2 2 3 4 4 2
2 2 3 4 4 2
0 0
4 4 5 6 6 4
P.M.
6 4
6 4
6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
4 4 5 6 6 4
9
Interlude
Gtr. 1 tacet Gtr. 2: w/ Rhy. Fig. 1A (1st 3 meas.)
Gtr. 3 tacet
C#5 E5
C#5 E5
F#5 F5 E5
Gtrs. 1 & 2: w/ Rhy. Fill 1
F#5 F5 E5
C#5 E5
F#5 F5 E5
B5
F#
(’Cause you’re a
Gtr. 3
*w/ delay
X X X X X X *Set for eighth-note regeneration w/ 15 repeats.
Chorus Gtr. 1: w/ Rhy. Fig. 1 (3 times) Gtr. 2: w/ Rhy. Fig. 1A (2 times)
C#5 E5
F#5 F5 E5
C#5 E5
Screamed: Lie!
ar,
li
-
-
F#5 F5 E5
Screamed: Lie!
li
ar,
li
-
F#5 F5 E5
Screamed: Lie!
li
C#5 E5
Sung: I’ll
just
come out and
say
it,
C#5 E5
F#5 F5 E5
B5
Sung: All
my
faith has been
wast
-
ar,
li
-
10
0
9 8
0 0
6 6
9 9
F#
ed,
wast
-
say
it.
ar!
C#5 E5
Sung: I
-
ed.
’Cause you’re
F#5 F5 E5
don’t
need you to
B
save
me
F#
an - y
-
ar.)
0
9 8
9 8
0 0
6 6
9 9
0
9 8
0
7 7 8 8 9 9
7 8 9
7 7 7 6 6 6 8 8 8
9
a
more.
P.M. P.M. 9 9
Gtr. 2
6 6
F#
F#5 F5 E5
F#5 F5 E5
ar.
Li
-
B5
C#5 E5
F#5 F5 E5
-
Lie!
ar.
C#5 E5
C#5 E5
C#5 E5
Lie!
li
F#5 F5 E5
6
Outro Gtr. 2: w/ Riff A (1 1/4 times)
C#5 E5 C#5
D#5 G#5
D#5 E5
I
don’t
need you to
F#5
save
C#5 E5 C#5
me
an - y - more.
(Ah.
Ah.)
Gtr. 1
P.M.
6 6 4
9 9 7
0
6 6 0 4
6 6 4
P.M.
6 6 4
6 6 4
6 6 4
D#5
8 8 6
G#5
D#5 E5
2 2 0 0
2 2 0
P.M.
I
don’t
8 8 6
9 9 7
need you to
F#5
5 5
5 5 4 4
5 5
5 5 4 4
Gtr. 1
6 6 4
6 6 4
7 7 5 5
P.M.
8 8 6
0
4 4
7 7 5 5
9 9 7
4 4
7 7 5 5
2 2 0
2 2 0
P.M.
8 8 6
4 4 0 2
4 4 2 0
save
G#5 F#5 E5
me
an - y
-
0
9 9 7 7
9 9 7
6 6 4
6 6 4
P.M.
6 6 4
9 9 7
0
C#5
μ
more.
P.M.
5 5 4 4
P.M.
9 11 9 11 7 9
Gtr. 2
6 6 4
11 11 9
6 6
4 4 2
4 4 2
0
P.M. P.M. 0
4 4 2
6 6 4
4 4 2
0
6 6 4
6 6 4
6 6 4
6 6 4
11