Ua ee GOI OL eae aa UCD y Cake wy een US is GLUES a oe Fe) OT oe 3.7, UT Be ee silat ira ac D UT MU |perfo YESTERDAYS ‘This latest single from GN'R begins with, two clean-tone electrics playing in a “country” feel, not unlike sections of “sweet Child 0" Mine” and “Paradise ity.” Both guitars use arpeggios; one is tueated with amp tremolo. At the chorus, the song gets heavy with both guitars switching fo maximum crunch, with the section changing keys to G major. This leads into Slash’s brief, nine-bar guitar solo, which initiates another key change, this time to B minor. The first five bars of the solo are based on B Pentatonic minor (B.D.E.Fs,4), modulating up throught ‘and D, landing on B Mixolydian (E,F,G+A,B,ChD), A Guns N'Roses song ‘with only 23 seconds of soloing is unusual, indeed, a is the fact that thisis avery sim- ple, very basic solo. WE ARE THE CHAMPIONS: ‘One of rock's most powerful tunes from those masters of subtlety and, of course, modesty, Queen, Coupled with “We Will Rock You" on 1877's News Of The World, both tracks 5 helped land that LP the 41 slot in §) ‘America, which was a first for the band. Like “Bohemian Rhapsody,” the tune begins with Freddie Mercury accompanying himself ‘on piano, aided by sparse, melodic ‘bass figures from John Deacon; in verse two, Deacon plays more complex melodies in the same fashion. Most of the piano pars in this tune have been arranged here for guitar. At:17, Brian May enters playing simple chordal arpeggios. For the heavy parts, Brian over- dubbed virtually matching guitar parts, all arranged here for one guitar. His incredibly warm, one-of-a-kind tone is ruling totally. At the second verse, both guitar parts are notated in their entire: ty—add this to the plano part, whic! repeated from the first verse, and there are three fairly complex, arpeggiated parts to choose from, ‘Over the second chorus, Brian adds, some single-note lines, based on F Pentatonic major (F,G,A,C.D), which can also be thought of as D Pentatonic minor (D.F,GA), as he begins his ines on the [Din chord. The solo guitar is treated with a flange effect. THE EXTREMIST Subtitled “Living On The Edge,” the title track of Joos latest is a heavy, blues- rmance Andy Aledrt Influenced rocker not unlike Surfing With The Alten’s “Satch Boogie" in terms of where it's coming from and the overall feel. The tune opens with a “Nashville tuned” dobro (see footnote at beginning of transcription) playing the opening fig ‘ure, which is then essentially repeated by heavy electries. The melody across the rst eight bars is based on E Dorian (E.F4G,A,B,Ci,D), but alludes to E Mixolydian (E,F2,Gt,A,B,CiD) at points where the tonality leans towards domi- nant, Bars 9-12 of the melody follow the ‘chord progression, leading into Joe's first ‘harmonica solo, reminiscent of "Big Bad Moon” from Fiying In A Blue Dream, The ‘guitar solo begins at 1:21, initiating a key ‘change to the relative minor (of E major, ‘which was implied because E Mixolydian ‘was implied, even though the first half of the tune is written in E minor—follow?),Ct ‘minor, with Joe's lines based on Ct Aeolian (G.D:EF4G.A.B). His highly legato lines here are, as usual, executed flawlessly, giv- solo reading ing one a very high standard to shoot for. Notice also the slight slap-back echo that adds “push” to the lines. In bars 7 & 8 and 13 & 14, Joe leans into C Pentatonic minor (C4E,F,G4.), inserting Aeolian inbars 9-12 ‘The bridge begins at 2:02, featuring a key change toA major, and Joe's lines here are essentially based on A Phrygian Dominant (A,B.,C5,D,E,F,G). This leads back to a recap of the melody and the ‘outro, which is a groove on the opening shythm figure, over which Joe takes another harmonica solo. BEFORE YOU ACCUSE ME Eric Clapton's appearance on MIV's ‘Unplugged helped to raise that program's ‘credibility and general acknowledgement to an incredible level, with the show being simultaneously released on CD as ‘well as video cassette to a rabid audience: bolieve the CD entered the charts at #3, ‘and held at #2 for at least a month. His performance of “Layia” from that show is now an MTV staple. For the blues classic "Before You Accuse Me,” Eric chose to perform it as a duo with his guitar-play- ing bandmate Andy Fairweather Low. who accompanies him beautifully. Both guitar parts are transcribed here in th entirety. Eric and Andy are both finger- picking acoustics, Eric getting a warmer tone and panned slightly to the right, and ‘Andy with a brighter tone and panned to the left. [urge you to play through both parts in their entirety, absorbing as ‘much as you can, if you're interested in this style of acoustic blues—so much of what both guys play is essential to the Ianguage of this style of blues. Either part on its own also would suffice for a Erie keeps his soloing very simple here, taking only two cho: ‘ruses, with the lines essentially based on the E Blues scale (,G.AB:,B,D). The inclusion of the sixth, C#, reinforces the change to the IV chord, A, a Cts the major third of A. WALK ‘This savage offering from Vulgar Display Of Power features a “dropped D" tuning, which ‘means the low F is tuned down a whole step to D. Diamond Darrel’s bizarre main lick, dou- bled by the bass, illustrates preci- sion in the bending and releasing of the E+on the first fret of the sixth string. Darrell’s crushing tone comes courtesy of his Dean Explorer-type guitar and Randall amplifiers, additionally beefed by the doubling of the rhythm parts with guitar overdubs. Darrell's mind-boggling solo moves ‘between lines based on the D Blues scale (D,F,G,A»A,C) and D Mixolydian (DEF4GA,B0 in bars 1-8. The articula- tion combined with the tone makes for ‘one amazing sound. Bars 9-12 are based fan G Pentatonic minor (G,BsC,D\F) and G Mixolydian (G,A,8,CD.E,P, and in bars 15 & 16 he plays a tritone shape (notes that are three whole steps apart), moving it up the neck in inerements of 1 1/2 steps, following the intervals of an Ft diminished arpeggio (FLACGE). cuTaR FRU 1866 35Tablature Explanation page 36 THE EXTREMIST Tune down 1/2 step: As Recorded by Joe Satriani ate un See Stat Bek Be aaa Moderate Rock / = 94 ES Intro 8? ‘Stime as stanard ning except @ - Qs sre toned a0 higher than norma. Transcrpon site sei ge. wer tuned Sormally (Sowa if nop Gte IL Ne. ES fy poo Gut Gt, is Dat 2 ati toned” eee ES s w/Rhy. Fig 1 (2 time & Ne Bs Ds_DISE: Rhy. Fig 1 (2 times) s —— ssa Rhy. Fig. 1(Gte 1) Sree topae asco ae GUAR FEBRUNRY 1989-37Ne. 5 Ds_DISES Harmonica solo 18 Pal Pal TEE Ds Diss al (Gtr. 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Pa DS. at Coda Bs cs Vi ie eee Aa pee D AHP AH ph ‘Pu upon ta SDepees br before hing note Tae FEBRUREY Im 43“4 Harmonics solo (Gtr, I owt) 5 GUITAR, FEBRUARY 1003 Tablature Explanation page 36 BASS LINE FOR THE EXTREMIST ‘As Recorded by Joe Satriani (From the album THE EXTREWSTIRalatity Records) ‘Music by Joe Satriani Moderate Rock = 94 Ne. ES Ne. ES Nc Bs Ds. Dis Es On, anes romded on dowates, Ne ES Ds DIS Bs. Nc ES 2nd time 0 Codg Ds_ pis Es Ne Bs Ds DIS ES _AS xp 12 Sng eats i ASCH, err Cony ease "iS sea Cady Pema Cay sae Gy uma, FERRIER 45,as Dewsd Bout Brust | Amuse? Se larmonica solo ears Reaper ee aaeeoa] A Sie ’ Mee Ne. Bs a 2 Aswet ees (oe SS Gitar sto Ne. os Ne. 8 Bast B Ama? DS.al Cong sds eee ee oops peers ae 46 GAR, FEBRUARY 138 GTR FEBRUARY 1080 47Ne Em? 40 GUAR, FEBRUARY 128,Tablature Explanation page 36 BEFORE YOU ACCUSE ME ran a OED ln Words and Music by Eugene McDaniel ‘Moderate Bives J= 100 E Gu 7 Ams/E (nie Capton) Z a Iniro w/tinges) a, Gr (Andy Fairweather Low) te °F w/tngers) =horus ‘ES EG ES BT AS SAS FS BOBS fore you ‘use spendsin’ mymon- ey on oth = er wom - en, tk = fet man = ey from 50 GUT FESAUARe 53 Cuma BRIO 84Bs ES EIS Eo) gee es test Es AS AG AS ks 1st Vere "out three or fournishts “Pout three or four nits 52 GUTAR ESRUIRY 120, GUT FEBRUARY 198) 83Chorus lake a look at your = 54 GUITAR EBRLMRY 100, OUR FEBRUARY 1980 55AS AS AS OE you talkin’ mon-ey from some ~ one ese. 56 GUNA FESR 1003 Ne. spendcin' my mony on other a ae Es B aT (ston 6) as As as NG UIA, FERUARY 1083 87New ED NG. » ‘tty my love one more 2nd Vere Petar Bs Toa Be AS aS NSE RS EGE -ARS A Be You know (when)things—don't go to suit you, 68 GUITAR FEBRUARY 190 GR FEBRUARY 1080 50think TH lose my mind Be fore you. ‘ewe me, take a look at your Chorus ES Bs Bs We SASS PAS on PAS Gy BAT COMES. PERL eS! ANC. You ay Tm — spend-in’ mymonay on oth-er_wom-en, 60 GUAR FEBRUARY 155, GUAR BRL IS 61smon- ey from some - one el Guitar slo (Outro) rs EG ES B AS AG AS aT SBS ORS BG 62 GUA, FeERLARY 10 ros? AS AG ar AS MAS, a a New, Dp Bp a ue 12 1a 1p 1p GUAR FEBRUARY 100 63Tablature Explanation page 36 WALK As Recorded by Pantera (From tab VULGAR DISPLAY OF POWER Eases! Racers) Words and Music by sate Vincent Paul Abbott, Darrell Lance Abbott, one Rex Brown and Philp Anseimo ‘Moderate Rock J= 116 he ye Biss & drums fade in) Ne Bs NG. Aes cay DS ONG Es FS FAS FS bs Ist Verse Ne. acetone. area eg rt GU, FEBRUARY 1888 105pss stan - dard any more. cs Ass as where Fre been be-tone You cant = be_——tome thing youre not. eee (Both et.) Fa stay a2 = way ftom me 1 | oth es) Dis cs Dis ot (end Rhy. Fi. 1) 106 GLA, FeBRUUAY 16 CLR, FEBRUARY 18-107coms NG. Bis Ne. Ass (Shout) Re Dis Ne. Es OS FIs Bs Ne Wark! 00, what did you say? (end Rhy. Fig. 2) dito Ge Ry. Fe 2 Nem bis NC ais NC. Ds NC BS Fs Fs FES ‘Are you taking to me? Ne. Bs PS ris LBs Ne 408 GUAR, FEBRUARY 180 Ven tae foe et Mes pee ey : : ppt Septet od 2 —— = Peek oe meee rae ae ak frends that symp thine. — Can you bear the. Wo fins__ DS. e1 Cod Descspis eee Pete nd tl mo y we Sf ve 20imey ms Ne a Ne bs Re spect! Watt NG FMS FS FBS FS_EISNG Bs Ne. abs Pia 0, whut did you sy? Re spect! Ne. Des Ne. Bs Bs FIs FS Bs Wo! Are you tik ing to met \w/Rhy. Fill G3 times) NG” BIW FS FSS FS EASNC EIS FSIS FS EMSC EMS FS PISS EBS ‘Are you talk-in' to me! No. vy, nk, — Gatar soto et News) uma, FEBRLIRY 1982 109‘onthe tae when hes opens are pe, cusig thew tose 12 ep sa. apuaden ‘(hold bend) tem. bar (light descent) GTA, FEBRLNRY 198 (Band tae Ne (Bass 8 drums fade in) 1 horus area] w/Rhiy- Fi. 2 (4 times) Nc Bos Ne Ais ONC. ps (Shout) Re spect! Wat Nc obs FS Fs FS BS NC Bis, Ne. Ass 00, what did you ay? Re spect! w/Rhy, Fill Ne ps NG mS om ope osm Nev bs rs ris rE Wax! ‘Are you takin’ to me? ‘Are you talkin’ tome? Outro NG’ ES EisDs ES BASS ESEISDS ESEISDS ESEISDS ESEMSDS_ESEDSDS ESS DS ee Wak on tome, boy. Play 7 times & fase UMAR FEBRUARY 1000494BASS LINE FOR ce ee WALK ‘As Recorded By Pantera Be ——— ee eee (From the abun VULGAR DISPLAY OF POWERIAo-Casiwest Records) ete SSS Sea Tee down Words and Music by © Vincent Paul Abbot, Darrell Lance Abbot ue 1B ¥ ap Rs A ‘Rex Brown and Philip Anselmo = Moderate Rock d = 116 Intro 2 bas ho at home Ist time, pay 2 times; Nera ANG, DES ad ime, play 4 ines 2nd time 10 Code D5_Es5 DS FSDS_F45 DS FS D5 EDS ze 5 EASDS FS DS FAS DSS DS E55 Ne. DS al Coda atin & Ras ‘Guitar sol © bs _EASDSFSDSFIS DSFSDS EMS % NID) a peccieee | ee ee” St Sco Ml Rw sro tonto tage ay Peano GUAR FEBRUNRY 1-118 492 Guva, ERLARY 8Chorus Ne. sata NC Bs NG 1B abs waa st ei ‘Pay 32 times & fade on DAS ps 635 D5 FS DS FAS DS FS DS BIS Ne Fe 114 Gunn, FAW 08‘Tablature Explanation page 38 YESTERDAYS ‘As Recorded by Guns N'Roses (From the aur USE YOUR ILLUSION Geen Racor) Words and Music by West Arkeen, ‘Del James, Bly and W. Axi Rose Dp ade? s OF ‘Tone down 1/2 Sa oe Modonay som Rost) =90 Ry. Pi Gite » c cs Ray. Fig 1A (Gtr It) af wliremolo effect D a Gs (cod Rhy. Fig 1) (cod Ry. a 2S TatpacPaona Socoy Semon en stand Coane i uTaR FEBRUNRY 18-498;Ist, 2nd, 3rd Verses withy. Figs. 1 & 1A 3rd time w/Fill gO? there was so many things. Twas onev-er told. LYes + ter = day 213. See addtional Iris Now that I'm startin’ to learn. 1 feel Tm grow-in? old... "Cause 5 co os Be ee ee le ea yes = ter day's, got nothin’ for me. Old pie ~ tures that I al-ways we. . eer To se ee au. eee Pose see A ope eee es th jut tet thea be fy, chore at Fe 4 Bes os ivan J I—s z AS Th ee er meg Lett TN Otis ‘got nothin" for me. RITA.CGte I) cd Ve eorion 416 GTA FEU 8 fu Rhy. Fle 24 RUA (Ooh st 2 bars only) i Yes = ter day's Guitar soo Got nothin? for ed eee eels b w/Rtry. Fig. 2& Rift A Ox, A BCs Pun ae eee Yes tor= day's De ls hie Ie eel Rut) a heel ed ot nothin’ for me a DS. (take 2nd ending) al Code Spades ee ot nothin’ for GUTAR, SALARY 1088 17Qa, w/Rhy. Fie 3 cs A Sane ee ee BASS LINE FOR, os 3 tit YESTERDAYS As Recorded by Guns N’Roses he orn (om eaten USE YOUR LLUSION Meet Pecos) Ben eos Wor and Muse by West Argon, TErelae. Sargon , et dames, Bly and W. Axl Pose Modell Slow Rok J=90 1st Vere (Gtr, & piano) e Sewer R Gre eh Se = ae 5 oS Yes-ter-day— there was 50 -man-y things. 1 wat never told (ete) + EE —+ = = c= 4 (Whispered:) Yes ter- day. — 2nd Vere D fay 3 ae forte) pod Play 9 re Prayers in and n0 hand in des ~~ ny_fere) > casa os D cs Additional Lyrics 2. Prayers in my pocket 3. Yesterday there were 0 many things ‘And no hand in destiny. vas never shown, Til keep on movin” along Saddenly ths time I found ‘With no time to plant my fet. mon the strests and I'm all alone, “Cause yesterday's got nothin for me Yesterday's yot nothin’ for me. (Old pictures that Tl always see. Old pictures that 1 always sc | ‘Some things could be better, {ain't got time to reminisce I we'd alljust let them be (To Chorus) Old novelties. 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