Guns n' Roses - Appetite for Destruction (sheet music).pdf

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GUNSN?ROSES

[?tilluffiffiilfiffi]I0 C 0 N T E N T S

2 Introduction byWolfMarshall 3 Performance llotes hyAndy Aledort I Tablature Explanation

BOAnything Goes

r5 It'sSoEasy

36 Mr,Brownstone 5 l MyMichelle 20 Itlightrain 30 ()utTaGetMe 4I Paradise City BB Rocket Queen 65 Sweet Child0'Mine -4 )/ -

J 41. / )

ThinkAhout You Welcome ToTheJungle You're Crazy M a n a g e m ent: S travi nskiB rothers/A l anN i ven T ra n s c ri bedby JesseGress E d i t e db y M a r k P h i l l i p s A r t D i r e c t i o nA: l i s aH i l l P r o d u c t i o nM a n a g e rD : a n i e lR o s e n b a u m A d m i n i s t r a t i o nD: e b o r a hP o l e t t o IS BN :0 -8 9524-386-5 C o p y r i g h to 1 9 8 8C h e r r yL a n eM u s i cC o m p a n y ,I n c . I n t e r n a t i o n aCl o p y r i g h S t e c u r e d A l l R i g h t sR e s e r v e d

A P P E T I T EF O R D E S T R U C T I O N i s a v a i t a b t oe n G e f f e nR e c o r d s , C a s s e tte sa nd C ompactD i scs.

N['ROSES CTJI\S

t?lilffifilfi[[$Iil[TI0|[ lntroduction GunsN' Rossssmergsdlromths tulbulentyst fedileL.A.clubscenewhichwasth6spawninggroundfor VanHalen,Quist rapidlygarnored RiovRandy Rhoads, MotleyCrue,RattandPoison.Beginning witha smalllocalundergound lollowing,lhey a greatsrpublicawarsnesswith thsir raw no-nonsonss soundand enorg€ticrock 'n' roll feel. Thsir appsarancsand subsoqusnlpopularityin 1987was concurrsntwith a psrcoptibl€shift in audiencetasletowardsmoredirectand moro pop/rockandthetgchnically emotionalforms of rock- a reactionagainstthe slickover-calculated demanding metallusion ofthe garlyandmid80's. Inthisr€gard,GunsN' Ros€sadvocateanddelivera musicalpresonc6 whichislho voryssssnce of rock- rebellious, immediate andovocative. Themusicinvites, indeedinsislson,audienceparticipation andinvolvemont on a pur€lygutlevsl. of modernrock.Sprinklsdthroughout Thssoundof Appetllalor Destructionrcveals an svolutionary linkwithth€beginnings otferings areallusionsto andunmislakablo'60's blussrools.Thevocabularyolthe bluss/ theGunsN'Roses well-eslablished rocktraditionof the Brilishdynastyof ths Yardbirds, CrsamandL€dZ€ppelinis appar€ntin thoguitarworkof loadguitarisl songrifisshowtheinfluence ol lhs Kinks,sarlyStonesand Slash,whi16 therough,aggr€ssiv€ rhylhmworkandpowerhouse oftheverss Aerosmith.Thesecentralelements coexistwithhintsol punkrock(inths pronounced chant-talkvocalapproach in "lt'sSo Easy"andthe unabashed explstivesfoundin ths lyricsol "You'r€Crazy'and"OutTaGet Me"),'60'spsychodelic soundeffectsin thesecond music(inthe raveupjammingof the rideoutoutrosolool "ParadiseCity"andguitar-gsnsrated guiiarsolo/intedud€ ol "Welcome to theJungle,'inwhichstratospheric slidsguitaraddsa spaceyqualityto theproceedings) and vintageheavymetal(in lhe drivingrhythmgrooves,sustainingdistortedguitartonesand viscoralpowsrchording throughout). As invirtuallyallclassichardrock,thecompositions of GunsN' Rosssaressssntiallyrilfbasod.The ritf,probablythe most structural lundamental componentin rocksongwriting, is generallyconstructed froma strongrepealingthematicunitwhich succssdsin grabbingtho listensrwith its accessibility and immediacy.In tho musicof GunsN' Roses,ths riflsare well - theircompactness constructed makingthomidealforelaboration. Ths guitar orchestrations and harmonizations are remarkablo.Noticein "RockstQuesn"the mslody-versus-rhythm - lull guitar counterlines settings in the intro,slide timbrosin thesolo,andths numerous textureanddynamic employed guitars. guitarandrhythmacc€ntaccompanimont, forte€nsemblo, spaciousarona-like andcleant0nepickodarp€ggiated guitarlinesare oftenunpredictable The harmonized andinteresting, exploiting a numberol intervalr€lationships. Noteth6 ambivalence belweenmajorandminorintheparallslharmonyof "Wslcome to th€Jungle'aswellasthevari€tyoflrcatments guitarchordalarpeggiations appliedto the introritfol "MyMichelle," at rnezzo froma lighlairystatemenloverquasi-rubato toneto a Ioudmetallic answerphrase(reminiscent ol earlyBlackSabbalh) harmonized in unisonandthenparallelthirds. Indiscussing hispersonalguitarapproachto theGunsN' Rosesmaterial,leadguitaristSlashadmitsto a prsfsrenc€ for improvisation. Citingguitarists JeffBeck,JimmyPags,EricClapton,PetsTownshsnd, Jos PerryandAngusYoungasprimary planol attackl€ndsmorelife andenergyto the music. Slashgenerallytendsto influences,he leels an extemporaneous elaboratoon andre-develop lhe solocont€nton stago,exceptfor his"signatur€ solos'(thosemomentswhichoriginally0n recordproduc6da deliniter€cognizable thematicimpression.) A definitiv€exampleof hisleadguilarplayingis the€xtsnded guitarimprovisations outroin"Paradise City.' Her€,hebuildschorusuponchorusol relentl€ss overafiorydoubls{ime rhythm gathersmomentum, fael. Startingwithimitativeparaphrasing of the vocalchorusmslodyhs continually finallyreachinga highenergy climax€mphasizing fastrilfing, varlous majorandminorpentatonic, blu€sanddiatonic combinations andsinswy stdngbsnding. poinlotferedbySlashwasmadeln rsgardto compositionalt€chnique. An important Thebandwritestogsther,poolingtheir yet coh€siveoutpul. BassistDutf"Rose"McKagan,lor collectiveresourcesand influences,resultingin a multi-lacetad playsdin a punkgroup,brought example, (second havingproviously hisinlluence to thetune"ll'sSo Easy."lzzyStradlin' "Mr. guilarist)and Slashoriginallycreatedthe ritlot Brownstone" onacousticguitars, andthetimbreofwahwahslectricguitar evolvedlater. Thslirst drattof "You'reCrazy'was initiallyplayedon acoustlcguitarand at a muchslowerpace(almosta half-timoshutfle)but€volvsdintotho uptempoboogie-m€ets-punk groovscaptursdontheLP. Th6reis constantrethinking andexperimentation at workwithinthsirarranging andcomposing lramework.

ForAppetitelor Destruction, Slashrecalledthat helavoredhis"GibsonLesPaulandoldMarshallhalfstackwitha minimum ofelfects.'Occasionally,achorusunitwasaddedsparinglytoprocesscleanerguitarpickingpassages(a "Paradiso "Anything City")oravinlage phraseswithstraightguilarin DeanMaftl€ytalkbox(whichcanbehsardtrading coes') "Sweol "Mr. or a crybabywah wah pedalwas usod(as in ChlldO' Mine"and Brownstons"). -Wolf Marshall

CUNS N{'ROSES

\?ltlllttilfiffi$l[lltTl0|[ PERFORMANCE NOTES GunsN' Roses'soundcan be describedas a crossbetweenLed Zeppelin rrlyAlicecooper,playingbasic,straight-ahead rockwithaflairforthebizarre.'tne soundis primarily.straight-jacked GibsonLes paulsthroughMarshallamplifiers I l e l n t h e w a y oef f f e c t sw . hetherplayingcleanrhythmpart-sormaximum-crunch thesoundis rawand natural,as opposed_to theuntra-processed soundso many ands..use today.Tf 9 musiccomesout of early70's biuegrock,relyingon blue6 rlterations andestablished metalhooks,as wellas somenewtwistdof-theirown. guitarsolosarebasedon pentatonic f th_e minor(1,b3,4,5,b7) andthebluesscale 4rb_5F&7)as well as pentatontcmajor (1,2,3,5,6)anil the major scate ,4,5,6,7). W e l c o m el o t h e J u n g l e . This tune beginswlth mutedpicking,utilizingan echodeviceto simulate minor ll! lgles. Thetonaliryhereis B mlnor;Gti. l's riffisbasedon B pentatonlc :,Ff ,A),as is thesoloingof Gtr.ll. Thisgivesway to theverserfiythmpartbased ); tne soloing In the last bar of the intro is based on the A blues scale ),Eb,E,G).The riffoverE5 at the end of theverseis basedon the E bluesscale I t t h ef i f t h( E , G , A , B b , D ) . The firstguitarsolohasan E7 tonality,as Gtr. I utilizesdoublestoosmaoe :hlrds,fifthsand sevenths.The secondhaifof the solo(bars5-8) is reminiscent my fqqe.andis basedon rhe E btuesscate1e,e ,A,AO,B,D) with'briefuse of the third(G#). a newtonality,D major,wherethe tunecalmsoown , The bridgeintroduces leforereturningbrieflyto E7. Thisis followedby the semnd guitarsolo,thistime # minorandtheselinesarqba!"! o_n C#pentatonic minor(C*,8,F#,G#,8)forthe x bars,E Mixolydian (E,F#,G#,A,B,C#,D)forthe nexttwobdrs,B bentatoni'c minor : bars,E bluesscalefor two bars,and B pentatonicmajor(B,C#,D#,F#,G#) for gives rrs. Thi.s way to-somead lib soundeffectswith slid-eand echo,foildweijby maticriffharmonized firstbya minorthird,thenby a majorthird,eventually gettinil o the chorus.(ligqeqcloselyto the recording - to-hearthe differenttonesuied b! ythmguitars,whichfattenup the sound.) ll's So Easy The intro,verseand chorussectionsof thistuneare basedon the E blues (E,G,A,Bb,B,D). Afterthe inrro,one guitarptaysbasic,,5"chords,supportedby rnd.gultar.playing doubtestops.The oiidgeuriti2es arpeggiated cnbroii,vimopen i; ailowail tonesto ringas longas possible.Thisis followedby a rhvthmoartthat rriationon Rhy.Fig.2, usinga similarsyncopation but differentciiords.' Theguitarsolois alsobasedon the E bluesscale,primarilvin 12thposition. ttack.,is,similar to.AngusYoungof Ac/Dc, featuringthb soundon hunibucking )s with heavypicking. ,,rakes,,'which meansto strum . Theoutrosolobeginswithphrasesfeaturing s r n g roeo w n p r csKw e e pa c r o s sm u t e ds t r i n g s , l o w t o h i g h .T h i ss o l oi s a l s ob a s e d , E 0luesscale,with momentaryuse of the sixth(C#)and the major third(G#). Nlghtraln The intro featurestwo guitars,one playingsinglenote lines,the other 3 t r i a d s .T h es i n g l en o t el i n ei s b a s e do n A D o r i a n( A , B , C , D , E , F # ,uGn)t i lt h e G ( b a re i g h t )w , h e r et h el i n ei s t h e nb a s e do n G M a j o r( c , A , B , C , D , E , F #r e) ,s o l v i n g Therhythmpartfortheversesectionsis basedoh chunkingchordswltha muted rsedon A pentatonic minor(A,C,D,E,G). Fill 1 featuressomeartificialharmonics(seetablatureexplanation page). ru.l.s and similar-guitars withhumbuckingpickupsare greatfor'achieving'tn"es'e (Just s ask BillyGibbonsot ZZf op). TJrefirstfivebarsof the chorusrhythmpart iniscentof the chorusrhythmpartto Zeppelin's"BtackDog." The guitarsolobringsa shiftin tonalityto B minor,andthe solois basedon :atonicminor(see"Jungle")for the firsteightbars. The nextsectionis basedon rrsof D follorrued by two barsof F#5,whicfiis repeatedthreetimes.D pentatonic ( D , E , F # , A , B )ui ss e do v e rF # 5 . T h e o u t r os o l oi s b a s e do n A D o r i a nc o m b i n e d reA bluesscale(see"Jungle.') Out Ta Gel Me This AC/DC-liketune b-eg.1ng with_aG minor tonatity,with the lead guitar theG Dorianmoqe(9,Arqb,c,D,E,F).The doubtestopsin the sotoare piayed ting bothnoteswithrhethirdfinger.The guitarsolois basedon the samescale iesthesamethirdfingertechnique.Thissblois particularly reminiscent of Angus t,with ths fast,tightvibratoand hard pickanack. The seLondhalfof the sot6is on A pentatonicminor(see"Nightrain'). Mr. Brownstone The returnof the "Bo.Diddley" beat,augmentedby mutedstrumming on "The wlth wah wah pedal. Followthe symbolstb rock ths pedal mrrectly. ndingriffby Gtr.I is notbasedon soundingprecisepitches;just slideyour finger downthesixthstringwhitepickingsixteenth, and thenslidebackup. Rhy.Fig.1 sdon E Dorian(E,F#,c,A,B,c#,D) wirha majorthirdadded(G#). The riffin bars thechorusis basedon E pentatonic minor(E,G,A,B,D). The guitarsolofeatures in tonalityto F#5,withthesololinesbasedon F# pentatonic minor(F#,A,B,c#,E). )undls fanenedup withwah wah pedalandecho.Thlsis oneof the moredifficult so workout the phrasingscarefully.The secondhalfof the solois basedon G : o n l cm i n o r( c , B b , C , D , FC ) , p e n t a r o n im c i n o r( C , E b , F , c , B ba)n d D p e n r a r o n i c (D,F,G,A,c)in thenextthreebars,respectlvely. All riffsareverysimilarand use me basichandpositionsand manioulations.

ParadlseClty Thistunebeginslikea countrytune,arpeggiating firstpositionchordforms. Use a combinationof alternatepickingand consecuiivepiCking,whateverfeels most comfortable.RiffB is basedpriinarilybnG pentatonicm'alor1G,n,e,D,E).Again,the guitaris pusinga lot of distortion,soundingoccasionalartificialharmonics.hiff D is basedon G pentatonlcminor(G,Bb,C,D,F). The guitarsolo featuresthe use of an octavedividerwhich doublesall the notesone octavelower. The solo is basedon G oentatonicminorfor bars 1-4 and 7 & 8. Bars5 & 6 are basedon A pentatonicmlnor(A,C,D,E,G). ThedoubletimesectionagainfeaturesG pentatonlc minorandG pentatonic major,and the solo guitaris playedin the styleof classicblues/rock,reminiscent of LynyrdSkynyrd's"FreeBird"outro. My Mlchelle The bestway to articulatethe openingarpegglosis to hold eachchordform tlroug! each beat and use alternatepicking. Ritf A ia based on the F# blues scale (F#,A,B,C,#,E),againemphasizing the bs(C). RiffB harmonizesRiffA a majorthird up. The fourbar sectionbeforethe guitarsolo (after"...Buttill thenya better...")i3 based primarily on F# pentatonic minor(F#,A,B,C#,E); usethethirdfingerto fretbothnotesin barthrse.Thefollowingguitalsolois basedprimarilyon B pentatohicminor(B,D,E,F#,A) with briefreferencesto the G5 chord. Barfourand fiveof thecodarecallrock'n'rollraveups of old,especiallyEddieCochran's"Summertime Blues." Thlnk About You here are like revved-upChuck Berry,playedin a . Th.eopenings.o^loing_.lines ta.g. teamfashionby Gtrs.| & lll. The rhythmpartovertheverdecombineschdrdlccents wlm mutedrggJryqe!; playit so you can distinguishthe rwoclearly,diggingin to the part as a whole. w. Axl RosesoundslikeKlausMeineof the scorpionson tn'istune. Rhy. FiO.1and 1A complementeach otherwell, powerchordssupported by argeggiated '' triads;use a clean tone for the triads,crunch for the chords. contains more Chuck Berryisms based on F# pentatonic .llqgg11ar-solo mlnor(F#,A,8,69,E),No flamingspeedriffshere,just btd fashionedrock 'ri' roil. T|r" soloing at the end of this tune pentatonic is basedon B minor(see ,, ... "Michelle"), playedin the standardpentatonicpositton. Sweet Chlld O'Mlne RiffA is basedon D Major(D,E,F#,G,A,B,C#) and is ptayedon a Les Paul seton the rhythmpickup,with the tone turnedway down. The grooveis more laidback thanmostof the othertunes,kindof countryish and reminiscent of U2;the vocalpartis remlniscent of GrandFunk Railroad. The gqltarsolosectionbringsa changein tonalityto E minor,and the solo llnesarebasedon E Aeolian(E,F#,G,A,B,C,D),with briefreference to E harmonicminor (E,F#,G,A,B,q,D#). 25-32recallAlvinLee'ssoloingon Ten YearsAfter'sclassic "l'd Love.ToChangeBars the World."The lastpartof the tune containssomefast soloing basedprimarilyon E pentatonicminor(E,G,A,B,D); the quintuplet riffis actuallya fouinotephraseplayedas fastas possible,so the phrasinglooksa littleconfusing.Listen to the recordto determinehow the guitaristis feelingthe phraseagainstthe beat. You're Crazy This tunesoundsa littlelikeACiDC meetsBachman-Turner Overdriveon Zp. QimpJg, straight-ahead rock'n'rollplayedFAST.The eighrhnoresin rherhyrhmpart shouldallbe downpicked; thiswllldefinitely takesomepractlceto getdown.Thechorus rlyJnm part is reminiscentof a San Franciscorobk 'n' roll-band of yesteryear, Rhinoceros. Theguitarsolois basedon B pentatonic minor(B,D,E,F#,A). The riffin bars 9 - l 2 l s t h e s a m e a s w h a t : J i m m y P a g e p l a y s a t t h e eh n idso" fH e a r t b r e a k e r " s ol lt om. a y taKesomework to be able to hold the bend and apply a strongvibrato. Anythlng Goes For the intro, one guitar plays a little riff based on the chord tones of 47 (E,G,C#);thisis.averycommonshapein rock,usedby Jimi Hendrixin the openingto "RedHouse."The otherguitarplays linesbasedon A-pentatonic minor(A,C,D,E,G). The guitarsolo featuresa tonalitychangeto E minor,with linesbasedon'E pglJ?tql!c_lllngr(frp,A,B,D)with the inclusionof tfie sixth(C#)and E pentaronicmajor (E,F#,G#,B,C#). Working back and forth between these t'irioscales is a commbn practicein rock, broughtto the fore by Eric Clapton. Bars 5-8 featurethe use of a 'talkbox,"a devicewhich amplifies the guitarthrougha long, thin tube held in the guitiarist's mouth,enablinghimto_shape (si-milar thetonephonetically o a wahwah pedal but to a muchgreaterdegree). The sound is then plckedup by a microphoneas'if the guitaristwere_slnging. The secondhalfof the solo is basedpiimarilyon B pentatonic m i n o r( B , D , E , F # , A ) . The last sectionof the tune featuresa feel changeto an uptemposhuffle, slmilarto but slightlyfasterthanthe Doors'"Roadhouse Blues."The lastriffin the free sectionls basedon the D bluesscale(D,F,G,G#,A,C). Rocket Queen RiffA, as well as the ostinatosoloingduringthe firstverse,is basedon _ F# pentatonicmlnor (F#,A,B,C*,E)withgrace notes us-edfrom the minorthird (A) to (A#).,Over the 85 and C#5 chordthe lead guitaruses B pentatonic the.maj_or_third major(B,C#,D#,F#,G#) and C# pentatonicmajor(C#,D#,E#,c#,A#),respectively. primarjly,muchin the The slideguitarsolo uses triadsuperimpositions Jeff Beck style (as in the bridgeof "Beck'sBolero"). The soloingduringthe outro is basedon E pentatonicmaior (E,F#,G#,B,C#), which-istheEameas C# pentatonicminorstartingfrbma different note(G,E,F#,G#,B).Bars 13-15utilizethe E majorscate(E,F#,G#,A,B,G,D#), whichis the sameas C# Aeolian.Sometoughphrasinghere,so analyzethe lines carefullyand listento the record. -Andy Aledort

TABLATUREEXPLANATION TABLATURE: A six-line staffthatgraphically represents theguitarfingerboard, withthetoplineindicating thehighest sounding string(highE). By placinga numberon theappropriate line,thestringandfretof any notecanbe indicated. Thenumber0 represents an openstring. 1 s rs r r i n g- H i g hE 2nd stringB 3rd slringG 4th 6tring0 sth stringA 61h6tring- Low E sth Elrlng,3rd fret

1st slrlng, 15th frot, 2nd strlng,15thfrot, playedto€ethol

€rnoosn E chord

Definitionsfor Special Guitar Notation BEND: Strikethe note and bend up ': Steo(one frel) l l

BEND: Strikethe note and bend uo a whole step (two f rets)

BEND AND RELEASE: Strike the note and bend up r (or whole) step, then releasethe bend back to the orgrnal note. All three notes are tied only the first note is struck.

VIBRATO: The string is vibrated by rapidly bending and releasing the note with the left hand or tremolo bar.

WIOE OR EXAGGERATEO VIBRATO: The pitch is varied to a greater degree by vibrating with the lelt hand or tremolo bar.

SLIDE: Strike the first note and then s l i d e t h e s a m e l e f t - h a n df i n g e r u p o r down to the second note. The second nole is not struck

TRILL: Very rapidly alternate between the note indrcated and the small note shown rn parentheses by hammering on and pulling ofl.

TREMOLOBAR: The pitcln o t e o r c h o r d i s d r o p p e da n u m b e ro Js t e p st h e n r e t u r o r i g i n apl i t c h .

TAPPING: Hammer ("tap") the fret indicated with the right-hand index or middle finger and pull off to the note fretted bv the left hand. PALM MUTING: The note muted by the right hand lig l o u c h i n g t h e s t r i n g ( s )j u s t bridoe

PICK SLIDE: The edge ot the pick is rubbed down the length of the string producrng a scratchy sound.

MUFFLED STRINGS: A pe sound is produced by layir hand across the strings wrl depressrng them and stnki with the right hand.

P R E - B E N DB: e n dt h e n o t eu p w h o l e )s l e p ,t h e n s t n k e i t .

SLIDE: Same as above, excepl the second note ls struck.

I I r,rr I rtllr

NATURAL HARMONIC: Strike the note while the leJthand lightly touches the string over the frel indicated.

RHYTHM SLASHES: Strun In rhythm indicated. Use c voicingsfound in the finge diagrams at the top of the of the transcription.

IIurnr.

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PRE-BEND ANO RELEASE: Bend the note up '? (or whole) step Strike rt and releasethe bend back to the ongrnatnote

HAMMER-ON: Strike the f irst (lower) note, then sound the higher note with another f inger by fretting it without picking

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ARTIFICIAL HARMONIC: The note is tretted normally and a harmonic is produced by adding the edge of the thumb or the tip of the index finger oJ the right hand to the normal pick attack. High volume or distortion will allow Jor a greater variety of harmon rcs.

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sl. si

Ds

D*-s

D-su:{r,

E5

E5

D*s

D5

Dts

E5

- 1

A.H.

loc'o

s/

,lrd Verse w/Rhy. Figs. l & 1 A A5

2

AL;

_/!



Wel -

conrc

le'arn

to

Il

to

liveD

J

the

like an t

gets

Jun

in

an

l

D

you'll take it

worse

the jurr

ole

f

r

4].--'-t h

>'

got

E

You can have an

D

c/G

you

y - thingyou want,-

D /cf

D /B

but you D/A

e l

bet - tc'r not t l r k e i t l r o r n n r e . -

In

the

jun

gle, (Ah,

10

play.-

D

e - ven-tu'l-ly.w/Rhy. Fig.2

You

f , ^ , ,

udy._

where we

E

CIA -t/E-,

ry

here

wel - come to

the

jun

g l e .W a t c h i t

"fr.l

bring you

to your

uh.

I'm gon - na watch you bleed.

P

--------------

r--\

---____-___.l

And when you're

-

l

/ t t / -/ t/

l ;>

ry

a

;

t

F /

1

suck

--------*------

s/. s/.

m,.w

steady glrss.

Guitar solo II

c{s

@ztr. E 85

@zr. A5II 85 A5II 85 A5II 85 C5 Cf 5

E

85

.D .rTD.--m

,TT*) rl? ( I5ma)

Y2 '\:

i/24.111--^,--^-^^^*

A5IIB5 A5IIB5 A5II 85

.rTn

:-

Kr

',

I

s / . a . H . p i t c h :E

cfs I

1

Full 1-,q,*

@:rr. A5II G

D^ Full s/.

E5

w/Rhy. Fill I

FY\

i'

a I

a,Lf

*s/.

F

st.

Ff5

E E55 F **55 E 55 F ffss E 55 F *T 5

.D:.m.D.D)

tz

C5

ii.

^

1

.s/.

,

)

,

..r

:-

I I

, stead.t'gliss.

.V.

Gtrs. I & Il cont. ad lib slide rifi's Gtr. III

1

13

wi Rhy. Fig.3 (3 times)

\,,

' '-

# -

tf

Tl

T

You

knou' where you are')

You're

F , , it -r . ' J1 - - - - -

in

the jun - gle, ba - by!

You're gon - na

- - - - - - - l

s/carirg1i.is.

)

open '

A v

2 )e A 5 F+5 Cs(tYP / ) )

F5

Ff5 )

Gf5 A5 ) )

w/Rhy. Fig. 2 (1st 4 barsonly) (3.tirnes)

B b 5P E a

,

^

'

l

C

C/B C/A

C/G

a

t_

d i cI

In the

t)

D ,C T

D/B

Watch it bring yotr

,tl e .

jun

gle.

Wel-come

to

the jun -

(Ah,

D/A

to your

sha na na na na na

na

na na na

knees.-

na na Knees,

In the

jun -

ah.)

C/A

C/G

Wel - come

to

D/cf

D

gle.

the ir-rn

D/B

Feel-

D/A

fly,

oh,

my,

ah.)

C/A

lny

ser - pen

Jun (Ah,

C/G

D/B

Wel - come to the jun

ole

gle. Watch it

bring you

to

your

ah.)

w / R h y . F i g .2 ( l s t 2 b a r so n l y ) C C C/A C/G

sha rra na na na na na na na na na na Knees.

knees.- Down in the

iun

-

olp

b'-.

Wel - come to

the iun -

(Ah,-

D/Cr

D/B

D/A

*+ rtl

alt. )

t'. Watelt it bring yorr

E5 D5

Bb5

A5

*

+'f

to your.

It's

(rotn

gon-na-

E7 T9

G 5 E 5 A

bring you

downl

\ Huh!

trs)

" x------------_*Slowly detune low E string.

14

---__--

IT'S EASY SO Wordsand Musicby W. Axl Rose,Slash, lzzyStradlin', Duff"Rose"McKagan, StevenAdlerandWestArkeen 2)

E5 Es(t-vpe Bb 45 C5 Esusi4 "f#?r,. 'ffiij "ffi Effi-0r,.ffi*sr,. ffi3s,

Ds

Esus4 O X Ffl#

X

rmTl

rrn'ffiffiffiffi-i,,u,

ffi 123

Ds/cf

Gs/Ff

Fts

xxx

trtrR ffi*sr,. hq#+r'.gffur,.+H-t }+-tl+.I

Tffiqffiffi

Ffit-H 133

B5

xxx fEfEtr 7fr. l H l t l EIIIEtr

Tune down 7: step:

.O=EbO=cu O=eb.)=sb @=th(f=sb

w/Rhy. Fig. 1 (21/: tintes) @

Moderately fast; = 15:r Intro Rhy. Fig. 1

;-i

( e n dR h y . F i g . 1 )

.D r ,f .i .n

.4.i

.n

-1 olo

io

open

E E 5

.I.

e o7o

H H P.M.--

H

H

T

I

H

H --------J

*f

@ op"n 2) E Es(t.vpe

.n '' ,,\'

.n

lst, lnd. 3rd Verses w / R h y . F i g .l A l s t & 2 n d t i r n e s w/Rhy. Fig. 2B 3rd time Rhv. @.p"n F i g .2 B b 5 As Gs E

,\.r ,ffi ).

1 n.,

z) E5(trne

x>4/.

(3 rimes) ( e n d R h y .F i g . 2 , w / R h Y F i g ' J t-l I I Bbs As Gs rEr >1,4/ / .m -

J

in

her

E5

t--/

see your sis - ter Seeadditional lyrics

I J b5

A5 G5

(E)

E5

Sun

dress.-

Bh5

45

She's out

to

p l e a s e , - she pouts-

G5

-T

out

Rhy. Fig.

to

take.

Play 4 time.s

need- to

try._

She's read - y

Rhy. Fig. 28 rl2

CopyrightO 1987GunsN'RosesMusic(ASCAPyVirgin Music(WestArkeen Music) ThisArrangement@ 1988GunsN'RosesMusic/Virgin Music(WestArkeen Music) International Copyright Secured All RightsReserved

Ploy I tintes

15

(end Rhy. Fig. 3)

Chorus W / R h y .F i g . 3 A A5 G 5 A 5 t Jb 5 fuiy. l-T-r

F i g . 3)

)

)-

@.p"r

@

open

.n

s/.

eas

A5

/

i-] I

Esus4 E

/-/

l ^ - l

-

eas A5

G5

/

I

sl'

P.M.

v'

E s u s f 4L , s u s 4 ( E ) E s u s f 4 E s u s r l ( E )

@ooen

Esusf4

Esusf4 Esus4 E \ r ' ' z l ' ) { E

'ry - bod - y's try - in' when ev -

Y,

Esus*4 Esus4 (E) Esusf4

(E)

Bb5

w/Rhy. Fig.3 (3 times) A5 G5 A.5 Bb5

please-

to

(E)

Esus4

eas

4 Esus4 (E) E,sus#

Esusf4

e v - ' r y - b o d - y ' s t r y - in'

to

Ilridge D/Ff

I It

ur.,rio Esus4 (E) Esusf4

please-

me.

As(7)

B5addb6

G

;=------,'--_\\_-_ seems- to-

eas

please-

me.

It

all-

(end Rhy. Fig.4)

Rhy. Fig. -l

rv/Rhy Fig. .1 D/F{

As(7)

B5addb6

I

when

I

in - to-

fade-

(2nd time:) So

r --- r1f7 hit -

P.M-----I

you.

h':2. you -

= I ' a l l-

\

odown

P.\,1.-l

R h y . F i g .3 A

16

--}t''n ----:

Pluy 4 titrtc:;

Fig. .sA D-s/('t D5 c5 G5/Ff E-s

)-

g 5 ( t r r e2 )

,-^/')

W/Rhy. Fig. 5 (3 times) (end Rhy. Fig. s) t .lrtl t ) )

see you stand-in'

I

Ds

D s / c *D sG sG s / r fr s

there

Ds/c'$ Ds (;s cs/F{Es

yorl re _

D5

D 5 / (f D 5 G 5 G 5 F T E 5

Why don

fuck

offl-

w/Rhy. Fig. I (1 rintcs)

Ub -s

A - sG - s

(tr)

E5

tsb5

,tl't/---

--_--l

IK

45 toco

tr-

I-.\

_

_

__L1.-a.I::f--_'1-+

A5

( E 5t

+ A.

.

_C

- E

D.S. (take :n(l cnding)al CorJa E5

A5 G5

\

+: I

-

('oda

Itb5

G5

p Full

*rBhy. Fig I (I tintt,s)

r\ f\ s

7i

9;. with-

me.

Don

G5 s

I

ain't

got -

Rlty. Fig -5A

Play I tintc.s r

-r-

'f

_Jl

fl

17

O L r t r os o l o il','Rlty. l:ig J /,\ 1i771357

(;-5

.{-5

lJt f

A5 G5 _

-

' - r -1- ]-l - ] l j a__ t-

e a s - Y

3? F tT ' af

Full Fu11

/ 3

,

/

\

a r,r_a P

Fullt

p

.\5

C;-5

-

!_r T -r

f.=

A5

A'5 G5

G5

It's

s o-

eas tl

==<

l-F-

,v

A.I{. pitch: Cf,

a

--J i -'

JJ

t+

=

1 d

P.M. Let ring P.M.-

F5 E5

F5 FT5

F5 E5

--1t

1 d

P.M.

P.M.----------.1

25

I)5

C5 A5

-------l--.-

Load

traln.-

freight-

sl.

,^

-----l

u'lSlidcslott' stead.t' g/iss.

G5 \

)->

l

1

\

i

1

l\\ ^

/

_>

+^

a n a e r - o

plane,

speed-

C5

A5

,\^-,

\

\

/r-. >

brein.

tirne

night A.H. ( 6va) _

!7',ttnn

@6pen lf1.

below)

I'm \\ \ \\ \\t\

\\ \ \ \\ \\\\\\\\

to

\\\\

\ \\\\\\\\\,\\\\$

\\\,\\\\\\T\\\,\M

on

the

night

-

train,

Rhy. Fig. 4 (Gtr. II)

and

I'm

s o m e .-

I'rn

on

the

"haa11-. !-4,**1ry\**^

read -

v

Gtr.I

.-----,;' t.-

stow Dend vv!-,,€

(end Rhy.

4)

-:-tv.

e-

Chorus/Outro (xVocalad lib till end) w/Rhy. Fig.4 ( till ertrl) I t/z

F5

1y,

/' t

* S e ea d d i t i o n a ll y r i c s

t

)

_

A.H. pitch:G

27

A5 A.H. ( 8va)

f;"8-

28

s

/

.

H

P

J H

H

P P

P

P

r / p

:?i>*a

F5

,/ ,/ r +

t

. +

+

a +

Ltertd

P

+

Full

s/

n .'_-

[\p -^l-

H

tii-\ r-_:fl s k t t vb e r t d

Full

Begin fadt: Full )

{rj-

,ll.

I I P P

z-\

F-adcctut

J

ry

I i P

Additional Lyrics ()ttro Chorus: Nightrain, bottom's up. l'ni on the nightrain. fill my cup. I'rn on the nightrain. whoa yeah! I'nr on the nightrain, love that stuff. I'nr on the nightrain, and I can never get enough. R i d i n ' t h e n i g h t r a i n , I g u e s sI . I g u e s s .I g u e s s ,I g u e s sI n e v e r l e a r n . On the nightrain. float me home. Oh, I'm on the nightrain. Ridin' the nightrain, never to return. Nightrain.

29

OUT TAGET ]|[E WordsandMusicby W. Axl Rose,Slash, lzzyStradlin', Duff"Rose"McKagan andStevenAdler C5 X

X

Bb5 X

X

X

tllTfi 3fr. Tfffi T u n cd t r w n ' : s t . ' p : f P f f i Tflf 133 iia @=rlg=t;b

G5

A5

xooxx I+Fffi l-t-trH

X

B5

F#

ffii qTrn

ftrt+ 2'

F 5 G5

Ftftft'

'

ffi.lT1 Til-r1

iB3'

Play 3 times B h 5 G 5 B b 5 G 5 w / R h y .F i g . I ( G t r . I ) (endRlty. Frg.l) F5 G5 C5 B b 5

M o d e r a t e l yf a s t J = 1 4 0

- G 5 B t 5 G 5 R h y .F i g Gtr. I -r

E5

D5

x x x - o xxx 5fr. FFtrFF trIflf

cdfr:r,. Fr+\

fi ifi i H i +5 3t' ' f f r ii i ' ,

H-fFH 133

O=.rhO=et @ - =obe=r.b Intro A

G 5 ( t Y P2e) F S / C

B b5lC

C5

B b 5G 5

"t",r.

BYa- Full

I T

-:J

. Irig. I ( -ll.:tintes)

F.5 G5

P ! T9 ' !t2

ql_ -

F5 G5

_ _ _ q b _- -s' l_B_bGscs s lo cr,t

x I /')

!--r-,*

_ )\e

slow bend

slow bend

q{]

I

Fu'

Full

lr.lt2

_---/-

slow bend 1t2

xBend top note only.

C5

Bh5

G5 Bbs G5

F'5 G5

I

^d=4

C5

P

/^)/

-2

-t----__-_-.-.-,

Bb5 G5 Bb5G5 \ r-T-'l _

slou'bertd

>

/

>

pick slides

Bb5 G5

"l^W^o >

Been hid Sonte-tirnes

30

outcas - y

:

>

>

andlay to f o r - g e t where you're go - in'

Copyright O 1987GunsN' RosesMusic(ASCAP) ThisArrangement@ 1988GunsN' RosesMusic lnternational CopyrightSecured All RightsReserved

It's noth - ing newsome-times it's hard - er

to to

:

)^

>

Bb5

^)-D^o l>

l>

C;5

w/Rhy. Fig. 3 (first 3 barsonly)

Bb5

"l-m-

l>

G5

,Well, you And ev

can 'ry

ways find you think

ts5

yolr if can that'swhen yollr

keep trou

your san bles

g o ,to a place you know just what you're do

4;>

C5

They break down the They push me in

I

CX

doors a cor - ner

and just

they to

(Both gtrs.)

rape m y oct me

screanr preach Rhy. Fi

to

rightst'ir'ht

(they(they-

and and

fight light

all all

night.n i g h t .-

won't won't

(You (You -

me).me).-

can can

me.)_ me.)(end Rhy. Fig. 2)

++ ->

P.M.-----1

31

w/Rhy. Fig. 2 (l% rintes) I) 2

2

lose my lose' my

Bbs/c +

h e a d .It e'acl. -

my eyes. my eyes.

(They(They-

won't won't

totrch touch Bb5 - - ' ' i )_ t_ ')_ ): _

C5

(Bothftr.lffim

me.)me.)G5 -_

Bb5

G5

/

) ^

) .J ) -_

_

A-

1>

'Cau sc I 'C'ause I Cltorus

got got

b e en b u i l d - i n ' u p been build - in' up C5

Bb5

in - side in - side.

A

L

_

t

_

('5

B b 5 G5

C5 / .

/

l

They w o n ' t b r e a k -

rt2)

B b 5 G 5 B h 5G 5 t \ ) 7 2

C5

A5 Bb5

n

n /

) ^

a

)

/ ' o

85

mel

Bb5/C C5

m---)

G5 Bh5 G5

ffilt

Bb5 G5

Bbsi(' c's Bbs/ccs

Bb5

I'm fuck - in'

I

in-no-t'cntl_ Lruttllr sol()

f Tney'reout ta

g o n e_. t

catclr

Y - - -a 1 r ; l s1 a)

/

al

C5

_

C5

fuck- ing read - y

SO

G5 Bh5 G5

Tltey won't

-3+ v .+- - ari: }. L

for I'm

Bb/CG5(tvPe2)

,,rm'-'-)

F 5 / G G 5 ( I Y p " 2F)5 / G 6 5 ( t v n ez )

f

f

i

.

-

-

P.M.----------l

u b5

/ |-T-l-.r/

85

t' 5

/

/,^,/

Bbs/ccs Bbs/c cs 112 ./putt

i:10 '-/ - - - - - - - - 1

17''P'N,I

JZ

.rTT'------)

B b 5 / C C 5 B b 5 / C G 5 t t v p zui t-T--l

/ / / / - -

(type 2)

)

2) F-5/(; C;5 I:5i(; G5(t)' pe

m^)

B b s i cC st s b s / c s

.

Flrl

x 1l ) ''f\

.tl. _/

Itold bt'tttl

/ \A\

/

.\A\\&\4^A\

-:.^^,,-\-.

ffi-

/

/ .^,

lutltl bertd

sl

3 r r - 5 i C( . , s B i 5 / C C 5

C5

w)

.n

.W--)

I

tsb5 85

)

Itokl battl

Full

\A\\\A\\\\Ary!W\

*Bend top note only.

t:5 G5 A5 .f-."----=-z

Di

R h y . F i g .3

C5

A5 C5 A5 ( e n d R h y . F i g .3 )

.112 112

r v ,R i h1. Fig. 3 /-r1: tirrtes)

G5 A5

(;5 A5 Full

I\P

Full

C5

A5

C5 A5

Full

t^l

Full p

33

(5 ( ; r ' Y ! ; F 5 G s ( t v f 2c ) u---T--

D5 U:

a

2 .

a

+

'

t

...., si.

'':

r2

r

I

.-/

G5 Bb5 G5

.-

Jr.

tirtl

fi+ I ]

] T

G5 Bb5G5

G 5 B b 5G 5 -

n /t\

:>

:>-

:>

t{r,

w / R h y .F i g . 4

t il ,/Full

Ftrll

Full

Full

G 5B b 5G 5

Bb

G

A

G 5B b 5G 5 ( c r t d R h y . F i g .4 )

,/-^

/e,

s/.

--------_--t.\

t; -a1i -a

W / R h y .F i g . 1

r v i R h y . F i g . 4 ( l s t 3 b a r so n l y )

G5tsbsG-s

A

(

;

C

Full

Bb C]5Bb5 G5

Full

Full

/.

\rL-^

r l r6.?. -]]

F

Ful1

si. Fuil

I

"- _

G

A

T':r_-

- I -

slowbend

.\_s

A_

* t n n v a,

(;-5 A5

.D.D

A5 C5 A5

C5

\trr

/

t-T--l / /

/

w / R h y . F i g . 4 ( 2 1 / zt i t t t e s ) G5 A5

cr5 A5 C5 A5

I I Sortre

J4

D5 I

a

chip

on their shoul - der,

and some would say

it

was

nte.-

G5

A5

A5

But D5

did - n't . buy that fifth of whis - key C5 G 5 ( t y e 2 e ) F 56 5 ( t v n e2 )C h o r u s

).

ffi^w/Rhy.

).

get

ta

gavc ile,

so I'd

F5 G5

They won't

+w/Rhy

Fig. 1 (31/ztirnes) F5

G5

/

X

C;5

be quick

to dis- a- gree.-

Bb5G5

They won't Bb5 G5

G5

i n - n o - c e n tl -

tsbs \"-! ,

G5 2

Br5

mel

G5 Bb5

I'nr tuck - in'

C5

you

Fig.1 (3%riy7s) ^FsGs \

Tlte'y're out tsb5

that

F'5 G5

catch

break-

me!

C5

Bh5

G5 Bh5

+'J

They'reout

ta

get

They won't

ll)

Ftrll

*1st time only, lst note of figure is played,not tied.

B bs G 5

BbsG5

F5 Gs

Bb5

G5 Bh5 G5

3

- T T- f

#ap T-

a _ - , 'Cause

catclr

I'm-

in-no-cent!

So you

11-

l

l

I

can

114

/

*,€

F'5 G5

sr.rck

C5

Bb5

\ )*t

r

55(tvne

z)

,J^o

Take that

TO

h e a r t! A

35

il[R. BR()WI{ST()I{E Wordsand MusicbY W. Axl Rose,Slash, McKagan lzzyStradlin',Dutf"Rgs^e' andStevenAdler D D5 A5 * o x rT[fE 7fr. hrm'sr'.E+rh*sr'. fuff -fffii ffit1 TilI Ttrtl lo33 i3i5 'iii' Tirt

T u r ) tel , ' r r nl r l s t e P : 6 = r'h@= cb O-,,rbO=sb @=obO=r'.b Moderatelv= , 105

i-.-.-i---Fr -'r-r iT-r )i # >i rd # >i rd rd )d >d rd y

85

C$5

H'* TH-r TtE

i.,7 ld 1

A

G5

E5

l'rrrTiqr,. furffrgfr.F# fiftij Til-n 'H-ftFt i5i'' 'i55., Trn

E ( t v p2e)

Ho ryll-n r|[in

>{

Play 3 times

-!: .s/" s/.

sl. s/. s/. rL

s/.

-Tf-

s/.

(end Rhy. Fig.

IJ: ' t f l H

N

r

ll

D5 --i

{ r v r l rt r f f) / '

-H-

J

A5

85

)>

)-)'

\

).

H

.4:

U H

P

H

@:i.. G

t.+: ') |

w/Rhy. Fig. 1(2 tirnes) E5 Rhy. Fig. 2

h

*,ft

lt

( e n dR h y .F i e . 2 ) 5

36

Copyright O 1987Guns N' RosesMusic(ASCAP) ThisAnangementO19BBGunsN'RosesMusic International CopyrightSecured All RightsReserved

(A5.r

u - rotrttd

( E 5)

scv - elt.

get

out - ta

bed-

a - round

nine.

And

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tl2

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(As)

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(As)

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+ ' -ri

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b :

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46

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r\.w

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a-bout H

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Ba - by,

62

yes

J

A5v

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n . a

A5

\

B5

A5

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2

you,

63

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c*s

f'!--\o

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you ( E l e c . a n d a c o u s .g t r s . . 1

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Additirtnal L)'rics 2. There wasn't much in this heart of mine. There was a little left and babe, you found it. It's funny how I never felt so high, It's a feelin' that I know, I know I'll never forget. O o h , i t w a s t h e b e s t t i m e I c a n r e m e m b e r , ( e t c .) 3 . S o m e t h i n ' c h a n g e di n t h i s h e a r t o f m i n e , You know that I'm so glad that you showed me. Honey, now you're my best triend. I want to stay together till the very end. Ooh, it was the best time I can remember.(etr:.)

()'ilIII{E SWEET CHITD Words and Musicbv W. Axl Rose, Slash', lzzy Stradlin',Duff "Rose"McKagan and StevenAdler D5II

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( e n d R I t y . [ ; r g .1 )

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Fig. I

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to

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wltere ev -

P

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as

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oo

wiRhy. Fig. t ,t:t

barsonly)

Dsus4 D Dsus2 D

( G t Ir I. ) m 4 = s t a r e d-

too -

prob -'ly

I'll

break down antl

H

Chorus Rhv. 45 Fis. 2" )

is ^.

w/Fill 2 3rd time 85

',' /a\

l

C5

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D

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( t Y P e2 )

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77

Double tirne ( )= 2421 (]uitar solo A5

A5

85

,45

85

Fig. 3

s l o u ,b e r t d

-n

A-s

F f,.5 cJ (end Rhy. Fig. 3)

w /R n y.F i g . 3 ( B 5)

( 3 titnes)

*

(Bs)

Bva-- Full

-^€-

) hold bend

t:5 8r'rr-- -

( B 5)

Fil5

**J

D.S. ( take 2nd ending) al CoQa

(Bs) )tl

+

7B

Ff5

A5

Fu11

tt,ru

A

(Bs)

A'H.

Fuil

(8va)

( 1/z C o d a wiRhy. Fig. 2 4 rirnes) (A5)

s

E5

Eb5 D5

w/Riff B (4 times)

E5

(As)

Eb5 D5

Ah!

yoLi're cra

( cs )

You know-

(As)

F,5 Eb5

yolr're

(As)

cray - ay

ay

(cs)

E5 E b s D5

ay

Well-

ay

(cs)

D5

You know-

(As)

A5

'/..->:t r ' \ - t - 1 -

G5

\

I -

\

Bring

it down. You're fuck - in'

A5

lr

l :>

cra

Full Full

.\__:/ Full

r

+'

?

Yotr know- you are!-

C5 / r>

a r l

/n/

F-ull Full

Eb5 D5

you're cra

D5 /

E5

you're

Full Full

P

H

>v

>

U2

(Two gt

Additional Lyrics 2. Said where you goin'? What you gonna do? I been lookin' everywhere I been lookin' for you. You don't want my love,(etc.) 3. Say boy, where ya comin' from? Where'd ya get that point of view? When I was younger Said I knew someone like you. And they saidyou don't want my love, (etc.)

79

AI{YTHII{G GOES Wordsand Musicbv W. Axl Rose,Slash', lzzyStradlin',Dutf"Rose"McKagan, StevenAdlerand ChrisWeber G5

ffi

D5

A5

h rii"uH\

f ,f, i ii f f 1i3 3f' f i h,, Bbs T u n e d o r v n r , :s t e p :

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xxx

ll

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M o d e r a t e l y l a s t r= 1 4 8 N.C.(A5 )

A5

long slide

t

BO

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QopyrightO1987Guns N' RosesMusic(ASCAP) ThisArrangementOlgBBGuns N'RosesMusic International CopyrightSecured All RightsReserved

Rhy. I:ig. I

H

A5

r!

,. D

-

'

1 t k ' ks l i d t '

(end Rhy. Fig. 1)

P.M.--------i

(Both gtrs.,t

-+ + P.M.--------l

B1

Bs cts

'bout. 1. I b e e n t h i n k - i n ' think - in"bout r i t l. S.'. tltlitirtrrul lt s

Al-ways hun-gry

tor some

thin' that

D5

I

h a v e- n ' t

2)-

(end Rh

- 4=#

l,lil+-

P.M.-----l

P.M.-------l

Ds c*s

)

s o n r e- t h i n ' f o r

8 5 C f 5

- by. you got some- thin' to Chorus F5 Ffs G5

ell may

. . ) . ,

Well, I

woY,

your waY, an @ o o " n 3 f r r. / 4 o p " n3 f r . , , o o p e '

A

u

I

o

My

.w

g o t s o m e- t h i n ' ,

D5

0

you.-

A5

yet.-

had

M

c)"n

'TT

c)" t

y - thing

GJ

lt' ,t

goes-

to-. . .

ye - yeah,-

M1,-

82

thing

yeah.

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w/Fill 1 N . C .( A )

B5

C5

t l

FT-] >4>4/

\

wi Rhy. Fill I B5

l>

l>

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83

Guitar solo w/Rhy. Fig. 3

D5/E

E5

Ds/E

yeah.-

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tt)

1

Gtr. II 1llytt

\-----l

.s/.

Gtr. I (w/Talk box)

E5

D5/E

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1t1

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-/_ \

Ds/E Fyrr

l rz

Rhy. Irig. 3

D s/P

Plul' j 1i*rt B5

84

s/. P

A s iB

B5

1-

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As/B

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B.5VII

Bbs

A5

v

G*5

N t

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w/Fill 2 N . C .( A )

D5 I

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s l i g h tA . H . 3 l 4

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P.M. (chick en-like)

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F G 5 #>l

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1 1 3 Full

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Full

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3fr. @open 3fr. , ,,open ,,op.n

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A

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n

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an- y - thing

1

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I

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Al D5

an - y

way.

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SIiglJ-tly'.t'lsle^r r = I 56 Triplet t"Jit'.,[' =.,'r\ ,*t wiRiff A(8 tinte.s)

@:rr' c -----'-

o.ft

To - nightl-

:

\

)'

I

To - night!(4 wi Riff B rimes)

An-y-thing

.ry

' i m 1

goes

,,.---------------= J

,---l---'-

Woh,

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,D

.l

wo, _

wo,_

,. '---------=-! f s-_-:

Said A5 I

D s

goes

to - nightl

Full

RiII B

Additional L.v-rics 2. Panties 'round your knees with your assin debris, Doin' dat grind with a push and squeeze. Tied up, tied down, up against the wall. Be my rubbermade baby an' we can do it all. (To Chorus)

y

a n -

l

-

thing

ROCKET QUEEilI

Wordsand MusicbY W. Axl Rose,Slash, McKagan Duff"Rgs^en lzzyStradlin', andStevenAdler

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