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  • 8/3/2019 Kiss - Signature Licks

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    A STEP-BT-STEP BRFAKDOV#NOF THE BAND'S GUITARSi.-LEa AND TECHNIQUES

    c.... PI.... ~ MlCH..,_.L PUTl.AHD/.......

    HAL- LEONARD"__ COR PC>RA. ION7777 W. BLUEMOUND RD. P.O. BOX 13819 MILWAUKEE, WI 53213Copyright @ 1994 by HAL LEONARD CORPORATIONInternational Copyright Secured All Rights Reserved

    For al1works contained herein:Unauthorized copying, arranging, adapting" recording or public pertormance is an infringement of copyright.Infringers are Jiable under the law..

    J. . . . . - T - h - i - s - p - ~ ; i ; f ; ; , ; ' ; ~ ' f i ~ ' ~ - n - i s - n - o - t - f o - rs - a - J e - i n - 1

    ..t.J. ~r" i~1 J { _ .. ~ ~"""_{ 1~ . 1 :. .. .. - . :I~ :til. \ J1 ~ ( ~n I~~ ; . " : . j "" . . '~ !_ ~ ~ ~ ~v - " . ./ F .. .. .. .. .. ~ I , e . ~ I . } -=: .1 _ ~ .~ \111 .~ .~~, I : r r ~ . " ~ I" 'Y ." . : ~ . - . : -. . .. . ; - . c .~ or - . . t . . :i - h - ' ~ .I; (h: " I ~~ ~:;. r: : = ! ~ . '1 \ r . .. : ~i~ ' - . 7 ' . , , . , . . ( i " J . , ' . : - : , . ~ , , , . J .~ ..'... ' .. :

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    PAGE

    I.In ..

    .2.I... ..6 DEUCE..2 STRU ER20 IT.27 ROCKANDROLLALLNITE33 DETROITROCKCITY43 SHOUT ITOUTLOUD48 I STOLEYOURLOVES3 SHOCK NlE

    66 LICKTUP72 HEAV.NSONFI

    3-67-10.."-13"4-"617-20

    21-2324-2627-2930-3233-34-3S~3637-38

    59 NlADE FOR LOVIN' YOU

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    ARE FALLING.Ion I_nd

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    In the entire history of rock and roll, few bands have made as significantan impact on popular music as Kiss. In 1974, these four New York C ity musi-cians took th e music world by storm with a debut album that featured aggres-sive, yet catchy songs composed of roaring electric guItars supported by a thun-derous rhythm section. In an admittedly bland era. Kiss' music offered a moree ne rg etic re le as e fo r young rock and ro ll fa ns w hile prese ntin g a n e la bo ra te th e-atrical image Involving makeup, costumes and pyrotechnics that made the band

    , hard to miss. As a result. early Kiss albums achieved platinum status almostimmediate ly a fte r the y w ere re le ase d an d by th e b an d's fo urth album, th e Kissphenomenon was well on it's way to encircling the globel Kiss' unique music andimage paved the way for future rock musicians. Now. loud guitars and wild stageantics are qualities almost expected of hard rock bands. As m any of today's sue-cessful rock musicians cite Kiss as a predominant early influence, they are oftenreferred to as one of the founding forefathers of heavy metal I

    While many have examined the history of Kiss as a band and discussedthe various publicity that has surrounded it's members for over two decades, fewhave explored the most important factor that has enabled Kiss to continue for solong: th e m usic. T his book focuses on som e of the m ore popular tracks from theKiss catalog and explores each of the guitarists' contributions towards creatingthe incredibly successful Kiss sound,

    The Best Of Kiss-Signature Licks book. along with th e accompanyingrecording essentially serves as a "hands-on" learning tool with which to studysome of Kiss' best music. The book features transcription excerpts from twelveK iss songs which appear in chronological order of release, spanning from thedebut self-titled album to their most recent release~ Revenge. (Many of thesongs covered in the book may be found on the more recent compilation C.D.,Smashes, Thrashes, & Hits.) T he tra nscrip tion e xcerpts showca se some of themore significant and memorable riffs and solos from each of these songs. All ofth e excerpts also appear in audio form on the book's accompanying C.D./cas-sette recording. This not only lets you hear the guitar in context, but allows youto mo re e ffe ctiv ely p ra ctic e each guitar part in an ensemble setting.

    For optimum s tu dy , th e le ad or main guitar part is presented in the rightch an nel w hile th e rh ythm sectio n d om ina tes the left channel. With this set-up,you may choose to study the examples covered in the book by:

    1. playing along with the recording "as is " in order to hear th e riff incontext.

    2. panning the stereo's balance to the right in order to more c lea rlyhe ar th e fea tu re d gu ita r p art,

    3. panning th e stereo's balance to the left to allow for rehearsal withjust the rh ythm s ec tio n .

    .~..~ ~ w .

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    Editorial Note:

    By taking full advantage of the described study methods, you should easi-ly be able to learn the songs and prepare them for performance.

    The Best of Kiss-Signature Licks book and recording are primarilydesigned to help one learn and prepare selected Kiss songs for a live perfor-mance. For a more detailed analysis of the theory and techniques involved inthese songs, check out The Best Of Kiss-Guitar School. a lso ava ilab le from HalLeonard.

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    DEU(KisS '74)Words and Music by Gene Simmons

    Example 1~IntroductionWith cranked ..up, distorted guitars. a pounding rhythm section and themenacing (yet catchy) lead vocals of bassist Gene Simmons, "Deuce" not onlyserved as a dramatic first impression for the band Kiss, but foreshadowed whatwas to come on the rest of their debut album as well.In "Deuce." guitarists Paul Stanley and Ace Frehley use double-stops tog iv e th e in tro ductio n it's ra un ch y sound. The double-stop is a two-note partial

    chord form frequently employed by both rhythm and lead guitarists to add "gritl!to a riff or lick. Most of the double ..stops in the example can be played simply bybarring your first (index) finger across the strings. (When a higher fre t n umberappears on the lower string in the tablature, just add your third (ring) finger.)Occasionally, Paul and Ace employ techniques known as hammer -onsand pull-offs in order to create more legato (smoother) sounding rhythms withinthe riffs. Hammer-ons and pull-ofts are indicated in the staff and tablature bycurved lines. above or below the notes, called slurs.A hammer-on is a technique where the left-hand's finger(s) strikes the

    string, sounding one or more notes without the help of the picking hand . F or theslur at the beg in nin g o f measure 2 , p ick the double-stop at the 10th fret (whichis fretted by your index finger) and bring your 3rd finger down on the note A(12th fret) quickly and with force, hence the name "hammer-on." When execut-ing this technique, a bit more speed and strength is required from the 'eft-handthan i f you were normally placing your 3rd finger down and picking the note.The harder you hammer your finger down, the louder the note will be!The pull-off is a technique where only the first note of the slur receivesan attack from the pick, while the following lower note(s) is sounded by the left-hand alone. A slight pull. or "plucking" m otion, to the side of the string as thefinger pulls off will help to provide volume and sustain for the next note. To per-form the pull-off on the last beat of measure 2, pick only the first double-stop(notes E and G on the 14th and 12th frets respectively) and allow the left..hand's pulling action sound the 0 note (4th string, 12th fret) afterwards. Youshould soon discover that when performing a pull. .off, you must have the follow-ing note fretted ahead of time (unless you are pulling-off to an open string). Forexample. before you can play the pull-off in this example, you must first barreyour index finger across the 12th fret. This way, you're giving yourself some-where to pull-off to.At the end of Example 1 on the recording, the first 4 measures of guitarare repeated at a slower tempo. This will enable newcomers to the hammer-onand pull-off to study these new techniques more closely and in context to the

    music.

    6

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    F5x xx5 fr.x. 1 [Track 3] U

    4 ~ 48fr.

    lotroModerate Rock J = 126A ! 5

    133 11'pIA G/B

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    F S 05G t r . 2 J . r ~ - - - - " " " " " " _ '11>4 GIr.1 >~>>>(phase shifter off) let ring -------------------------...,

    ..-oe, 2 doubles simile

    1. 2EDd Rhy. FIK. 17 A >- :::'-_r >~! ~~ ~' I , ~ - : ! 1 =L I T . . . . . . " . . . . . . . . ! II[

    ~ ~i _t ~ . . ~ . .' - ' " ~ . . . . . . . . . r: . . . . - _.J., > I" ..ill' . . , . . . .- . . . . . . I- --

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    Copyright C 1974 Hort Productions America, Inc. Gladwyne Music Publ~Corp~and Cafe AmericanaA ll r igh ts fo r cafe Amer ic an a in the U .S . Adm in is te re d b y t nt er so ng -U . S .A . , I nc .AJ I rights ou tBide 1h e U .S . Co nt ro ll ed b y Po lyG ram In temaUonaJ Publi sh ing . Inc.International Copyright Secured All RIgf11SReserved

    . . 2 - 1st Verse and ChorusUpon arriving at measure 14 in Example 2, you may notice the transcrip-.

    tion indicates that tw o guitars a re n ee ded to p erfo rm the next two measures ofthe cho rus riff. However, a quick look at the tablature will reveal that one guitarcould easily perform both parts/ (The lead guitar in the accompanying C.D./cas-.........ette recording performs the riff this way.) After playing through these two meas-............. " .. ',

    7

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    ures just once. you should discover that when both parts are played on one gui-tar, the notes actually come together to form simple power chordsl Often times,when two guitars share a staff system in a transcription (also referred to as divisinotation), it is possible that both their parts may be performed by a single guitar.This is an option e sp ec ia lly w orth e xp lo rln q if y ou a re the sale gu itar is t in a ban d.

    Ex. 2 [Track 4]lstVene

    Am cs D5 N.C.1 It . ., .. .)r~ )r - ... ..=L-i ,. - r : : r . . _ . . . . . . . . . . . . . . . . ." " " "' I II . . . -...,.._-+o-----t _+---+-.....~ ' : . . , . . , . .

    .. . . . . . .. . . . . . . , - -- I_ 1- - - - _ . . . . .-and get your grand - rna out _ of here, _

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    Pick old Jim I work in' hard.L this year. Andp, IS

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    ilnIce, you know your man is work -in' hard. He's worth a deuce! .I!. - . , . _fII J

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    Example 3 - 2nd VerseIn the second verse of "Deuce," lead guitarist Ace Frehley overdubs alead fill which, in measures 3-4 and 7-8. doubles a funky. 2-measure 16th-noterhythm played on Peter Criss' snare drum. When performing his lea d, A ce a ccu -rately duplicates the drum's very s ta cc ato , o r short, rhythms by employing atechnique known as left-hand muting. Left-hand muting involves loosening yourhand's grip on a note or chord just enough so th at th e s trin g(s ) s to ps v ib ra tin g.To perform Ief t . . .hand muting on the notes in measures 3-4 and 7-8, release theleft-hand's finger pressure off the frets immediately a fte r e ac h p ic k a tta ck . Becareful not to let go of the string completely after each mute, as you might acci-dentally sound the open Bstring.At the end of Example 3 o n th e re cordin g, th e 2- mea su re lick discussedabove is presented again at a slower tempo for close study.

    Ex. 3 (Track 5]2nd Verse

    G t r < t 3 : w/Rhy + F ig . 2Am csI Ii -e - ~r - - + - . . , . . _ . . . . . . . -----+---+- .....:-,-.,.~. Jl

    ...... 1-- - . . . . ~ ,.W",""" r~_ '1J1 --Hon- ey, don't push your man be- hind_ his years. _ And

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    Am cs OS N . C .5 ~ ~

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    10

    Example 4 - Guitar SoloThroughout m uch of the so lo in "D euc e." A ce F re hle y creates some w ail-in g le ad lic ks by using w h o le -s te p b e nd s. (In the ta bla tu re . whole -s te p bends a reindicated by the term full above an arrow.) I f any of your whole-step bends sounda little "sour." you may need to work on achieving the proper intonation. or pitch.whe n b en din g th e strin gs. On t he gu ita r . a w h ole s te p is e qu iv ale nt to tw o fr ets .Therefore. when you bend a note, its final destination. or "target pitch," must

    s ou nd id en tic al to its fr e tt ed counterpa r t located two frets higher. If you havet rouble hearing th e target pitches, play them as regular fretted notes first. Inother words, play the note two frets higher than the note you want to bend. Then.try performing the bend again with the correct pitches still in mind.i f you can hear the target pitch. but you're just having trouble physicallycontrolling the bend, you m ay want to reinforce the bend w ith your 1st and 2nd fln-gers (a ll of th e b en ds in Example 4 ca n be played w ith the 3rd finger ). These addi -tional f ingers will provide you with more strength with which to push the strings.At the end o f Example 4. measures 1 3-1 6 are played at slow speed.

    These licks provide the perfect opportunity for you to pract ice the hammer-onand pu ll- o ff techniques d is cu ssed earlie r in Example 1. as well as the whole-stepbends covered in this lesson. Also, check out the 1 1/2 step bends in measure s13 and 14. Use the same prac tice techn iques on th ese b end s as you would onw hole -step bends (1 1/2 ste ps e qua ls 3 fre ts ).' " . . ' .' .: .. : .. '.'.. .. ': ' _ '. ', : . : . : " ' : .' . ' ,' , . .

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    Ex. 4 [Track 6]Guitar SoloOtr. 1:wJRhy. P i & - 1,4 t imesOtr. 3 N~C. :>1 >

    f f u n fun hold bendfull - . . . , fu]I , full let ring - - --ifull full

    > >

    full fun full f u . I J - - - - - - - - - - - - - - - - - ~ - - - - - - , fuJIlet ring - - --ifull

    8~-~ -------------------------------~----------------~~-~~-----------------------------.

    full full ful----- --- ---, full------ ------..._, fun.r-..r-~

    (~) . - - - - - - - - - - ~... - - - - - - - - - - - - - ... - - - - - - - - - - - - ..... - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - -11

    full full ltll

    (~) - - - - - - - ~ . -.. - - - - - - - - - - - - - - ..------, loco> : ' " ' " a 31\ - . . . . > -~ ~ .. - " " ~ >_ . . . . . . . -- J~ ., . . . . . I""" ,. '\. J -, . . . , . ~ :k I ~ . . . . . . .SI, , . . . I I - r-- I . . . . . 7~- - .4_!_ ~ . . . . . I J JFil.J - ~\.. - - - - . . . . . . . . . .at . . . . I I I I I I I I ..:. > - > >- II ~ - - 3 .. >- e- >-:>311/2r-. I!!I'/ \. ~ lID ~~ . , ~ _ . ; _ _ ; . _ . . VI. ~- . . . . I .a ' . . . . . , .. .A . . . A .. . 2.\', \ , . . . , ,. .. 16 . . . . . . -. . . ,. . . . . . . . v,.,,;~A V J '". . . . . . . ." . . . . . . . . . ... I&. TV r "'" r v " .. '" 4.n L IV r y ~I~

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    TR TTE(Kiss '74)Words and Music by Paul Stanley and Gene Simmons

    Example 1- Introduction and 1st Versa

    Take your time when working with the wide stretches in "Strutter." Atsome point you'll probably feel your left-hand and forearm become warm or evenstiffen up. If this happens. stop and relaxl While this is part of the process ofdeveloping muscles and tendons. continually pushing yourself past this pointmay result in tendinitisl(Warning signs: sharp pains in the hand and/or forearm.)

    Ace Frehley's pumping, melodic guitar part in the intro ana verse to"Strutter" is actually a blues-based approach to rhythm playing which is quitecommonly utilized in rock g uita r s tyle s. A lth ou gh th e b as ic guitar rhythms them ..selves can be traced back as far as the early delta blues days, guitarist ChuckBerry usually receives credit for bringing this style of playing into the mainstreamof popular m usic w ith his famous h it, " Johnny B. Goode. "

    Performing this "rock 'n' roll boogie" style of playing usually involves tak-ing a power chord and moving the fifth degree of the chord up to the sixthdegree on beats 2 and 4 of each measure. In "Strutter," however, Ace Frehleycreates his own variations by employing the sixth degree more frequently, Inmeasure 1 of Example 1, Ace (gtr. 1) begins with a 85 power chord and thenstretches his pinky finger up to the note G~ (6th fret) on the downbeats of beats2 and 3. This four fret stretch between th e index finger and pinky may present achallenge for any beginning guitarist, so if it feels too difficult when you first tack-le it. move up the neck and practice th ere fo r a while. The shorter distancebetween the higher frets will make the stretch a little easier, allowing your fingersto adjust more gradually.

    B G D A Bm GIll 05x )( x c~ " " " " "4~ ~.~,~ .t

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    to fl. 8fr~ . . . . . . . . . . .~. ~~ 4~~ 4 . 4 134211 113331 134211 134211 134111 134211

    Ex. 1 [Track 7]IntroModerate Rock J = 136B

    133 134211

    Otr.2 j. on.~~---r--' ~--------- DfjOlr.l 1f let ring - - - -- I let ring - ----I

    Copyrlght C 1974 Hen Productions Amer ica . Inc.Gladwyne Music Publ. Corp. and cafe AmericanaAl l rights fo r Cafe Amer icana i n t he UtS. AlJminister&d by In tersong-U.S .A . Inc.All rights outside the u.s. Controlled by PolyGram International Publlshlngt Inc.International Copyright Secured All Rights Reserved

    12 , .: (...

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    J . An j . , Bn J . Gn

    J . Dn > >-

    1st VerseBGtr.2 e : : ' - - -A - ..k# - tr~,~ I

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    .1 - ,I lcnow_ a thing or two a - bout her.-Ott. 1

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    She'll let you-, . I .a:. . . . . . ..."r _,_. ~

    ~ -~ - - - - . J "'- ' ~~ - - - - . . = ~ i ~ ,I '1 .'- L "-'-'" .I I X . . . . . _ ~ ~ u - . . . . . . . . . .-r" to. - .. ,~

    . . . . . . . . !:T," '- _ , . . , . . '_"'--" .,. ~ . ...l . . . . - I-,--" ' - . . . . .let r in g . ~ . . , ..:. t. itr ." It .. . 't ~ I ill n a.......4 - . . n . . J , J ,~ X ~~ ~, I, V "'~ .. ~ l J .. "-

    ~ .i ! ; it ~ ~ A l j a _ ft .~ " I ~'" ... . . . . , U J l.VJ v v . _ . . ." . . . . . . . . . ' l 1 l i ' r l 1 l i , , , . . . . . . . .; :: : .". . . . A, ~ I - V> . , AJ > ,- -18 ~ " b r b r _ . , r '# It r, . . - ~ t. . . "-y . . . . '- ,. J ~ 1 \.. 'E 61 , "' " T ' lo . i i . . , ~ , . . ., , -I , ,.. _l'"- ' ~ -

    walk the street_ be- side her. Ow!It ~ ~~~/\_~ r " " " " " . . . . . 1 . . . . . . " ~~I . . . . , I ~ ~P- i \..~ _ , - - t "'- J '-/v 1.J -. -"" 'V ~- - . J - '-- ,J~ . . . .- - - . . _ . . ...

    1 / 2r-; . .. . . . /I ~ 1 11 .. . ~ _ ! . _JI !. !. . . ./ r~' ~: ~: ; .'. ~:! ,. A . .. J " ~ [./ :'1 . '" "- ~ ~ :: 1J .....:! ~ :! ~ : . .- r \' J ~. . . , ,. ,, I' .. _ III _ III U. Ii)~ l- ift ; : : c dll ~ ;;} ~ ;wi ~ 1 , .; .:-i .'W ~- . i . . . . ~ I I i I I I , , I I 'til . . . . . . r IJ

    B

    - - -21 But when she walks, __ she'll p ass _ you by. __ -- _

    Jet ring - --t

    14

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    Example 2ChorusWhen playing through the chorus. use constant downpick attacks to re-

    create the rock steady guitar rhythms heard on the recording. Downpicking ispreferred because it generally sounds more uniform than alternate-strumming.To better understand the difference between the two methods, first play Example2 with downpicks only and then again with alternate-strumming. You'l l probablynotice that the alternately-strummed version sounds weak when compared tothe pumping. all downstrokes method.

    Ex. 2 [Track 8]Chorus

    BmGIr.2 J ~ j BmJ - j j

    1 - . . . . L ~II- ~l- .. -l- t= ~~: ~Il- ~l-$ = ~ t: t = . . - . . . _L" - 1... ~ ~- - - - L ~- - f t. JII J I I I I I I " " r- " , . . . - , . . . . '----r .. ~ ~, . . , I I . . . . ..II. .. .. 1 ~ " ~ ,. I I J L ." "\... J . . . . . . . . - , . r r ,-. . -Ev - 'ry -bod - y says she's look - in' good.c, And the la - dy knows it's un - der - stood.L

    Otr. t" ~ ~= & . l ~ I ., ~ j" ., ~, . . . . . . . II . . . . . . ~, iii . . . .~ ( " III. I . . . . . . ,~ I - - ,1li ~ I I~"\.:' J I , ,. . .I . . . . ,. .. . J , . jA ., ., . . - : III 1.,..4 _.j ~ ~ I~ .. .. ~ .~ ,.. pft ;~ . ., . . ~ ~r ;; : : : : . ., 1 , I~ r ~. ,~ _jill " ~. . .AI . . . i ll ) 1 1 1 , ,. . . ,II 1 , X : 1 ,. . . . l !II 4l _ .. .

    " w ,~ v ~ ~ fii6 ~.AS BS

    5 A ~ r. ~.~~~~~-- ~ - - - - - - - - - - ~ - - - - - - - - - - - - - - - - - - - - - - ~ ~ - - - - - - - - - - - - - - ~ - - - - - - - - - - - - - - - -, - AS B !;- - - -Strut - t er l , .,

    Rhy. Fig. 1" O trl 1 _ .... - - I 1 1 I I I~.:

    . . . . . . . .. . . - - - - -~ , - -~~- '" ~ . "~

    ~ ,., -J . . . . . . , , - ,"" 61 . -:: -. . . . . . . . '- .,,

    ~----------~A--~~--------~~~~~~A~----~~~.A--~---+_'I~1t~~~~----~~~~--_.--._--~~------.--~j H~----~L~~-~r[~~~~~~:~~: ~ - - ~ ~ ~ r - ~ ~ ~ ~ ~ I ~ ~ ~ ~ r - - - - - - ~ ~ ~ - - - -Rhy. Fig. 2It Gtrl2 _ ... ---

    ~ :End Rhy. Fig. 2

    . ,I IIIt "

    III . . . . .. . -~ . .

    ft A A .... v v a .. v .. A .. A v " v . .

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    Otr. 2:w /R by . F ig . 2AS B S A~Ii. _"... ~!..=L' : . . . .~ - - - -~ J . . . . . . . ..J -

    Strut - terl cOll.1 . . . . . . . .-I'tj -~':"~I = ~ -~. - I I ~ ~

    ~

    ., . . . . et i I f ~ 'II V r " - " ' . .. . , , . 1 1 "I J f I f " " ' " ,. .- -~ .J . . , . . . . r . . . . . ,61.J !r , ,_ .J -i- .. . : . ; ~ -- . . . . . . . . . . . _ ,.

    .ft ft ft A . . . "- ft 1 ft ft. ft. J. A A ~r ~ ~ .. .J .. . . . . ft ~ X X ~. X X -~ ~ = : - = ~ : 6- .. .. . ; : ~ :: : ~ _ :; :; , ~ ~t ~t w , : t., , iIJ I , WI f r I " i l lOtr. 2:wlRhy . .Pi,. 2. 1.3m ea L o nl y

    A B 5 AS B!i G5 CGr.2n I D An B.,n13 Ii . . , . . . . ~EL - - - -~ 1 -.1 - -Strut - ter!_ - End Rhy. Fig. 1I ~ ~1\ l._

    ~. . . . . . . . . . "-

    ~ -:,~ !. .. , . . ~ . . . . . 'Ii . . . . . . . . _ - - V , " j1~

    II , ~ I".. J .. 11 . . ,.1 - . . . . = #. -::. . . . . . . _ _ , . ~ II - ~I ,. . l J l ~ ~ J .. . I I I. . ~ . . . J .. l 1 l i ~Il !. ~( : ~~ J I' ~ = I~ I, III j .. il1. ~,. ~. ~ . ~r qr 1 , ft jl! ~ _I If ~ if J II ~J ~ j'- J IIIr ~ , r ~ ~ ~ u- i, :- ., J ~ j ' , t = ~ . . I!. .. - - -II:. . .. I f , ~ , , "ti. , . . , ~ iI , ,

    Example3-Guitar Solo

    ,.' ,

    The guitar solo in "Strutter" hosts a smorgasbord of whole-step bends(see Ex. 4 for "Deuce") for you to practicel However, in measures 5-8, weencounter some whole-step prebends. Prebend notes are different from "regular"bends in that they require you to bend the note a full step before it is picke d. Y oumust rely solely on your fingers' experience to silently bend the note exactly onewhole step.

    You can p ractice you r p rebends by first p ickin g a note and bending it up awhole step. Then, try a nd p re be nd the same note u sin g th e preceding bend'spitch as your "target" note. (Make any pitch corrections while still holding thenote.) This process teaches your left-hand how much pressure is needed ino rd er to quietly bend the string up one whole step.

    15

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    Ex. 3 [Track 9]Guitar Solo

    GbI~1" 2:w/Rby IFil. 1AS1 A ~ _ , . . ~

    _Ill~ --r - -.II" ~ -' '""'][". , -Strut terl _ w _ . ~ . .

    ~ I Otr.3 ,1\ f'..# ! ' ~ r; ! ' - /> " /\ ! ' - f\I _. . .,.,. - . . . . . . . . . IJW I"-~ ~ . ..tfull full full fulJ full fu n full full full full.~ ~~ ~~ ~~ J~ I~ ~~ . ~ j . 01 j j J J J J 1 j j. . . I I J I I I J I I I . . . / 1'1./ 11./ ,.../ ft/ . If t. / ft_/ f t . / ,,/ ft/A . . . . . . .. . . .. . . - . . -

    I!a. . . . .D S D!;

    3 " ~ . , . _ . -- I! . , . . ".- ,. . . . . . . . . - ~FL I I . 1 ft IJ I I I II I ,'\.." 1 ", L . . . s.lorat -full full full full~ . t~ ~~ }'"J J ",- ~1 I I I _) . - .ft . . . . . . . . .,.. ~ . . .A ~ A . . A . . . . . . . .. . / . . / ~ -7 . ./ ; A ~ ""\ IV , IV , IU , IV I IV , .V f IV J . . . , . .. . . . . l"J , I

    5

    full -tul~ - - - - - - - - - - - - - - - - - - - - - - - ..., fu ll'" .. - .. - IIIr ... - - - - - - - - - - .. - - - - - - .. - - ... - ., ro ll - - - - - - - - - - - - - ...........- .... - - - - - - - full - - - - - - - - - - - - - - -

    fun --- -- - - - I I ' . . , full fu n full- . . . . . . . . . . . . . . . . . . . . . . . full

    played slightly "behind" the beatB !i AS B .5 D5 E5 G C DAB8~ -----------------------~-------------------------~-~-~---------------------------------------------------- ----------------,10 . . . . .

    full f u n full fulJ fu ll fu ll full

    11

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    A fter the example, the firs t tw o measu res of th e sora a re re pe ate d at slowspeed,

    Example 4 ..Outro soloIn measu res 1-2 o f Example 4, Ace re pe ate dly emp lo ys a d ou ble -sto pwith an oblique bend to create a catchy lead melody, (Oblique is a term used inmusic to describe when one voice moves apart from another stationary voice.)This lic k is actually a variation on yet another popular riff made famous by gui-

    tarist Chuck Berry in the intra to his classic hit "Johnny B. Goode."To play this lick correctly, barre your index finger across the 1st and 2ndstrings behind the 7th fret and push the 3rd string with your ring finger. If you findthat the string tends to slip under your finger or you have trouble achieving theproper pitch, try adding the middle fin ge r fo r s up po rt. This shou ld give you theextra "muscle" needed to perform the bend comfortably.

    Ex. 4 [Track 10]Outro Solo

    GIn. 1 .t2: w/Rhy. AI- 1A5 BS1 J r AS BS" ~ - - - r-FL . . .I - - - -"... J . . . . . . - -

    Strut - terl ~Ii. Otr~3A ! ' f # - f # A I' r-; I' ~ ~ ::"".. ~ .". ~ ~Fl; '.!.,. I ] I~ -Jill I J J . . . . . - --" " ~J - - . - - . . . . .e J - L:a..J L3.JIe . rin g - , let r in g . .. ., le t rin g - .. . . - - - t let ring --I kt ring --i let r in g . .. .. .t

    full fun full full full fullI . , . , . , , . , I .. , t - . , f .,I I / .. I .. I .. I . . . i a . . . ~ ~- . . . . . . .. ..A ..." . .. ,.- _/ I' A/ f A-7 ,./ ft,-7 ~ ft/ IV . I' f IV ,V , .... 'A . . . . . . .. . . . . . .- 15. .

    A5 BS4 11 t r-.~

    l - - - - -~ IJ - -

    Strut .. ter!~

    :-"\ .-.. . _ . . ~ r- . /" \ -l - ~ ~ . , . . . . - . . . . . ~ - - -~ .. ~.... I I I . . _ . . . . . . . . . . . . . . . . -I J 1 . . .. t ! : :: : :J i _ 1'f~

    - -... I - 1 ....' \ . " : J "1 . _ _ . . . . - . ----....;; - . . . . . ... . \ ...,;; . .~.t - . . . . _ ,

    full

    r-.+-;r . . . . ~ . . . . ..,./ . 1 " " : . . ' ". ..:il .A 4A _4_A .. ... . . . 4.A . .V IV f ft , IV IV I IV , IV , IV I . . . . .\1VI ' ~ . . . . . . . . - , 6 , A. ,. . . . . . - .A .4 I r . . , , " ' I I I. . . . . . . . f ~ r . . . . ".. -'l18

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    OS ES7 A -I ~ . . . . . . . . . . . . . .~

    iii . . . .I II. - - -. . . . . ~ . . . .

    J -Strut - ter! ~)t)---------.------,r-. r . r . I' 0. 0. r- I'. r-~ "'~ ~Ii .' I ,~_ _~_ /VV" L . . . . _ ~ _ . _ _ ._ L._1- L . . . .fL~ .,..*,=&' :~ - - - . . . . . . . . L ,. . . .. - . . . .. . . . . . _ , . . . . .I . . . . . . . . . . . . . . . , I. . . . . _ _ _ . . . . ..I - - + ..'-' .J T - J. . '-' ~ -La....J

    full 1 \ l~ 1~ I i 1 \ 1 \ I i I i 1 11J J J 1J J J 1" /'\,,/\/" ~ . . . . . . . . . . . - - -/1 r . . ~ ~ ~ ~ --., - .. - ~ ~ I -.. --. -..- _ ~_ .. .A ~ .a"" . . . . oII_ . .- .. . .- . . . . . . . . . . . .. . .. . . . _ ,.~ _A . . . .";A~ .; ~ . , ", . IU , lV 1&0 I&. --.I 1.& ,. ,& 1& fa ,. \IZJ TV I":;; IV ~.. IVI . . . . . .- ~ .A,. , ....., . . ' '1 ' A ' -- . ,.. ; .. . " j r . .p Jayed s l igh tl y ~hind" t he b e at

    n s 10

    full./\ 1 1*played slightly "ahead" of the beat

    D!i BGlIa.1"2 j>12

    1 9

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    - '74)Words and Music by Ace Frehley

    When working on the opening riff for "Parasite," start out slowly. as thiswill help you to work on the precise timing needed to coordinate the left-hand'smutes with the righthand's pick attacks. The 2 measure riff is repeated at slowspeed after the example so that you can more clearly hear the exact rhythmsinvolved.

    Example 1 -IntroductionIn order to perform the intra riff for "Parasite" comfortably and up tospeed, you'll need to perform left-hand muting techniques in combination withsome p re d ete rm in e d r ig h t- ha n d p ic kin g .Check out the suggested picking pattern below the staff in Example 1 .This is the best m ethod with which to play the riff at fast speed, as the patterntakes advantage of the right-hand's strumming motion. When you use this pat-tern, you should notice that your right-hand is continually moving up and down,

    even durin g the rests. This e co nom iz es th e rig ht- ha nd 's mov emen ts better thanif strict alternate-picking or constant down ...picking was used.Use left-hand muting to silence the notes befo re each 16th note rest, aswell as when playing the muted string attacks (represented by XIS) at the end of

    the fir st measu re .

    Ex. 1 [Track 11]IntroModerate Rock J = 1261 Otr.l N.C."1 C ; ~ J v. . . .

    I41" -r .,tWI &I_eJ1

    ,

    picking: ,., V ,., V v v ,.., V .., v- ... - '" ----t~ ~~--~ - - - : , . . . _V r- I V filii

    -... --.. -... .-...oI- -,.. -~ -- -I- -""q - " : i4I-r- I V ,., V

    -~-. -... - - . . . . . . .--: r # . r--'II" I ... "" ., .,_II II-~ -... _ - __. .. ... - -- _- -- -~ _ .. .

    . . . . . . . I I 1 I I . . A .... A ft '" v ... A A .A . . A A A.Copyright 0 1974 t 19n Hor i Productions America, lnc. a nd C afe AmericanaAJ I rights fo r C8fa Ameticana In 1118U.S. Administered by In ta rsong -U .S4A ., I nc.All rights outside th e U.S. Controlled by polyGram Intemationa~ Publishingl Inc.I n te rna t iona l Copyr igh t Secured All Rights ReseNed

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    (band enters)5 IiEL [J - -- ... . Ii " nl tI V ., -, III '" . , .,. - . . , . . 'I ., tl til 'P " '" . ,.-~ lJ f f , I T I I ~.t -. -.-"~ '" - - _ '"' --- --.. -~ - ---I - -- ----. ... ._- -~~-~""-'" ~-- -, ,", --1- '-'"' - _ ~ -~ " ' _ ~ - "~ ""- '"~-- , . ._ .. ~-~. . . . . - . . , . - "",- - ~-"", . . . . . . . . . . . . I- s=+: I- r- : I- ..-:;.- ~~ t . . . .. . . . . - - . ,. , .' r 4 I - I~ ......... r~ ..... . . . . . . . . . . . . ~.'r#-- - ~ - - - . - ~ - - . . . . ~ .. . A A A .A lflii .. " ,ft ft "V '"' . . _ft_ . . . . . :II " A A ,. .. . A .A . . A A . . A ft " . . . . . . . . .. .., U ~ ~ ~ .&. ~ '" on n I "'I ~ ~ ~ I ~ . . I . . . . ~ ~ V I 6 " V '" "

    1 .8 1\L ':~ -1~ ~ - . . ,- .' ~ ~ fII fII--- ~. . . . . . fiI . ~ - &I . . . . ~ J " " ' l 1 l I,~J I t f f .. . ~ til r-.. -" - -. . . . . . ~ -" -"' - -.. -. -. -. -" -- -. -- ~. . .~-.. 1-- q - " i ~~. . . . . , . . . . . . _ C ~ I~~ 'r# , . . . . _ \ JIII - - ~,. . . . . . -

    ,~. . . ,. . . . . .a. . . . . .. .. . .. . . . . .- .. . ..-. . . . . . . . . .A - . . . . . . . . . . . . . ~.!IJ ,& ~ ,.jJ ~ . . , ~ I ~ ~ ~ " ~ I . . ~ '\.. ~~

    Example 2- 1st Verse and ChorusPerhaps the most difficult part in performing the chord changes in theverse riff involves moving the barre chords quickly up and down the neck in wide

    intervals while keeping the rhythm s sm ooth and steady. If you experience aslight hesitation when switching from chord to chord or your rhythms just feelchoppy in general. try planning your chord changes ahead of time. In otherw ords, once you strum a chord, start scouting out th e lo ca tio n of the next chordbefore you have to change position. (Practice this slowly at first. When played upto speed, this process takes place in less than a secondl) By scouting ahead inthis manner, you're giving you r left- hand a "target fret" to shoot for when itcomes time to make that speedy chord change.Ex. 2 [Track 12]

    Verse 1 1 . 2.GS OS A t,1 r ,, . ~ - ~." . . . . . "", ~ ~ . . . . .. . . . . -r- ..I . . , . , . . . . .. ." . . , n r I I~ ,; I I 1 1 I I I.J

    She'll al . . ways be there try'ng to grab a - hold ..thought s h e knew me, but she did . . n't knowI was set a n d want - -

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    N . C .3 1\ ~::& ~. . . . - - . " ., .I -jI I " " . . . . I r '\: JetShethat

    -~-"'"-., &I., ft/L I-. -" -" - -"" ' -'" -.- .- -~ ~

    .,iiiI .,MI ., .. . . . .I ., . . ..., II .." ". ---:...:r. -"" -~

    .A_ - . . -- .. .I I I -~ 1 - _ ,ps A~ N . C .. . . . . . . . . . . . ~ . . . . . . . . . .5 , . _ _ .~ ~ ::& r.J. . . . II .,i i i " " f ,~,.J.t - ed her to go home.

    . .- . .It - -. . . . . . - -::& (J~ . ... . ~.. . . . -. . ~ _ . t.1 V ~W 'I I I " '" ~ 'J ., ., .1,. J , .I . . . . . . . , ,.t .___. A:__' - - . . . . . . . . . . . -... -- ~ . . . . -I- -"" ' -"" ' -.. -... -- ----I ~ -...-'" - .. . . .~ . . . . . . . _ . _ _ . . . . . . . . _I - ~- -,, ~ .. .I ~ , l"l ~t t

    ~ -~ .~ ~ ~rI X r 1 -\ : J :- . . III -,ill .. . . .. . .. . . . . " . . . . . . . A A A A A .IIi A A U 'U'. . . .w ... . V ~ !If ,.., .111 - - - - I . . . ~ ~ . . ~ . . ~ y .. - . . . . .7

    "L [7- - -,.Jat -"L L J. . . . 1,1 " - ill .. " _ . til IIIi - &I" ., ., _ . , . ' ' ' ' ., ., . ,.~ J I 1 ( , I I.t -"" ---.; .. . -. - - - -~ -~ ----- -- I- - - - - -"" ' _ _ _ _ , .. . -... -~ -... -...~-" 1- .. q~ . . . . . . . . . . . . . _ ~ ~ . J I I I I I l . r.--. . . . . l . . . . . ~ - - - . . . - ~

    ft ". ft A filii A III " ' ! I " ft ft ft ill . . ,. _ ~ A "" " '" . .. v v . . , . . - ., ., V W I W w . . . . . . . . . .

    22

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    9Chorus

    B b ~ csft. -r: +-;r: '."~:cr - I r'- .I. .

    Par - a - site la - dy.Par .. la dy.a - site -A ,:- - - . . . . . .~::~ ~= =I ., . . , . l 1 l i " - ., . . . . . . . . . ~., . ,_ U t~ I~ .L I I I . . . t - - ...-. "" ' - - - ~ . . . . . . . . . . . ... . .. . -- "" "t. r - : : " " ~~ ' " * " " / . . . - -

    sf'" "" , t_ , - ' I I I j' .. .n, _ .. ~ ."....; ~ ~{ .. , - ! J ..111 J tA a ft ~ ~ . , - _ " h , _ I .. u , r_4 II1II A '" IIr - . . . v . . u ., ~ V "IJ

    11 cs F5 E~SA ..-.,..- : ; : L ' ; ~ " " " -., - 1* _". . " - ' ' ' ' .. \,.' 1 ~eJ ~ /Par - a - site eyes.No n e e d to cry. 3 3 II r

    '!~ j~ = ~-....f t 1 =:; 7,.... I~.. , . . . . '" eL - - ~ I I I " ., ., I . . . , _ , _l_ I _, ~ ,. I I '\.: .J ~ . . 4- 1 c .. .. - I / J ..1 d -Ii- ~ - - - . .6-. . . . . . . .,~ t 1 . . .I ..l .. I ~, , __,...oj . . I I XII t , .r~ ~ J , J ~, I l_ - . ill .. ,.r, -. iii' 'II ,-_" l, r ., .. , 1 ~ Vi ll . . i I ! i ~~, ..,- V Ii

    Example 3 Guitar Solo

    23

    While a lot of the licks found in Example 3 fo r "Paras ite " in vo lve mos tlyb en ds a nd pull-ofts. in measure 14we encounter the brief usage of a tap-ontechnique. Tapping involves using your right-hand alone to fret, or hammer-on. anote on the fretboard In order to create wide interval legato sounding licks. In thefirst beat of measure 14, rather than pick the note B~on the 15t string. 6th fret,Ace taps the note on the 3rd string. 13th fret, in order to create a more "hammer-on" type feel.When pe rfo rm ing this lic k, s im ply re ach u p w ith yo ur rig ht- ha nd (while stillholding the bent note C. 5th fret. with your left-hand) and hammer-on the note B~on the 13th fret. Try to achieve a pull-off effect with the right..hand as weU,because you nee d to sound the note D (previously bent C at 5th fret) immediate-ly afterw ards. M easures 1 3-1 5 are rep eate d slo wly after the a udio exam ple so

    that you can more clearly hear the tapped note.

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    Ex~3 [Track 13]Guitar Solo

    O t r . 1 xc,Rby Fig 1 EadRby. F J a . 11 .l -~

    ~ _} """.. . ., . ., . . .~ ~, . . . . . . . . . . I l I" J -,.e o - - -. - - .. -- -.. - -- - ~ "".. . -- -- -"" ' -- -... . . I I I I I l . . . . . . . ~ . . . . . . . . - - 4 -. . . . .I4. - . . . . p . . A . .I!!!I w v o i I I I ~ ~ r ... .. " . . . ft. . . . . . . ~ ftiI. . . . . . . .a. .A. A. WI ,~ A. '" . . ..II . . . . ., . .. . . . . . .- . . . .~ " ~ I I I i i I '\1 . , .J I I I I I I ~

    8 v a - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,Gtr.3It A A.. AA. ".,.. ~" .A._.. AAFL ~ - = = - J ~ ( ..~.I I ~ #"" ~1It11...~~'_'~ ~6-"".. . - ~ . . . . . 1.-J ~1(".1 " r . . ~J '1.J I . . . . . . . . . .- I r ~ , - t ! . fij'\.: .J ....1 , 1 . . . . ~3 3 3 -1/4 1(2 full~ 0 ------,..----.-- --.--r'\~ ~ 4~ j~ j~ ~I ,- .. .. .. . . . . .III. .. _ ..._ . . . . . ._ . . _ . . . ~ . . ~ . ., IJIJ .Ir . . . . T" ' - 1 " .-. TT TT lTJ1..,...II

    Otr~1 -\ - -FL 7 - -I I ! I l . Ii.. ~ II eJI I I " " I , r ,-,.: .J I. t -.. -"" ' -- - "" ' -~-.. --.... ...",_ . . . . . . . . ~ ......._ ~ - - - - - - '"' -"' -"" -". . . . . . -'" _~ - -"' - -~. . . . . . . rtf- . . . . . fill ft IIttl ttl V 11 V _.,.._A _!II A_ V A V. . . . . .. . .- . . . . .A . . . . . . . . , " " ' " ,- -f/iI . . . . . . . . . . til .. . .. . -~ tJ ~ " - " til I I :&

    Gtt. 1:wlRby. Fi~ 1,4 timesOtr. 3 loco8 ~ Bva -- - - - . - - - - - - - - - - - - - - . - - - - - . - - .- - - - - - - .- - - - - -~ - - - - - - -~ - - ,

    8 V d - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - - - M - 112

    f u l 1 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - , f u l ] fuU hold bend

    24

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    steady glisa.

    - ' " - ..-

    18

    ------6k"mg - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - . - - - - - - - - - - - - - - - - ~ . ~ - - - - _ i~ ~

    Otrt 1:_/JUly. Fillt~18

    6

    3 3, r ,20" -I - I'=L~D~,. ~ I. . . _ ~1 ... . . -.."J '--- . . . . . - - . . . . . . . . . . . . . . . . . _ . . . . . . ~ . . . . . . . l~1 J r T . . . . .".. "W" '" . ._~ "- J . ~ " \ ... J-'" '\.. . . . . . . . . - , . . . . . . . , , _ . . . _ . . . . . . . . . . . . . . . .- .~6- - - - - -. . _ . .' . . "1l #I~ II! " " " " III 4! 1 _.Ill " " A A A A "- .I! A AV V V V . . . , V v . . . . . . V ~ . . . . . w - . . - .. , " W V V U r# v V fill v V til V 'W . . . . ViJ 41'" if 'ttl

    played slightly "'behind" the beat

    Ott. 1:w /Rh y. F in t22 6

    fulJ full-_-.-..-. . . . . . . _ - - - ._. . . . . . . . . _ - - - - -

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    Gtr..3

    24

    Ok. t

    f u . I I - - - - - - - - - - - - - - - - -,

    -

    . ... .

    Rby . F il iIair. 1 N.C.It~ 7~

    ~ ~ ~ ..i.J.J -ill r;J ,'I -. . . . .I4. . . . . . . -n w " ~ ~ ~.- . . ft .,.. . , A A ~ . . "" '" , ,Ii~ lit "

    :.:~:I~.::~Ii .! i# .

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    ITE(Dressed To Kill- '75)Words and Music by Paul Stanley and Gene Simmons

    When playing th e rhythm fig ure in measure s 6 and 8, hold the E barrechord played in th e previous measure and use your p inky to add the appropria tenotes.

    Example 1 IntroductionT he introd uction to the c la ss ic K iss tu ne "Rock And Roll All Nite" is actuaJlycomposed of two d iffe rent guita r parts which mesh together to form a unique sound-in g riff that would be im possib le to p lay on one gu itar. O n the record ing accom pany-in g th is b oo k. you can pan your stereo's balance from side to side to better heare ac h o f th ese parts separately. (Gtr. 1is in the left speaker , g tr. 2 in t he r igh t. )When performing the first guitar part, be sure to keep your index fingerbarred across the 1Othfret on the Gadd9 and 0 chords in measures 3-4. Thisshould help you to perform the chord changes smoothly at a fast tempo. If you

    also ke ep y ou r middle finger on the 1 1th fret during these measures, a ll you'llneed to do to perform this riff is move your ring and pinky fingers back and forthacross th e strings.As with th e firs t g uita r, p erfo rm in g the second guitar's part will require thatyo u main ta in s ome sort of barre throughout much of the e xample. In the thirdmeasure , k eep your index f inger barred across the 7th fret while your middle andring fin ge rs h ammer- on the notes for the G chord. If this sort of technique is newto you. make sure that both fingers hammer ..on their notes at the same timelMaintain the barre at the 7th fret until the slide in the next measure.

    Ex. 1 [Track 14]IntroModerate R~k J = 138 Gadd9 D D A EOlt.l ~ . .Rhy. F l a . l ; ~$r~t> ~.~

    j .JIi I ~ (drums) 2 J r : -is _ . e ~L . . , .-L - ..J ~ . . . . . . . J-- ~,. - '- J r: ~ ~ 1/A I. . . C ' - ~ :: :: I.a r:;. ,~~ .I I~

    ~ I. ~~a J ~ - .-til- ~. . . . . .f ~ III ~.. . .. t! ., I I I .. lin J~ . . . . 4 ~ ~ ~~ ~~, ~, . , ,~ ~ r... ~ .. ~ ~ l ~ to. j lI ~~~ft ~ . .. .. ,. A U ] t , r .. r .. j ..iI .. . . ' I I ! .. . J ~ ~ iiiA ,f A ,. , , ; I t .6 ~ ~ ~ " I I~ ~ IIIH ~~ t ~, ,Jft I I I I ~ J~ _W -~ . , : ~!: _. ~ ~ ~ .! . ~ ., ~r Jl' .:t .:~' I~ ~ _! ~ ~ ~ . . . . _ . . ., r 11, " I', " IV V " " -Otr.2. > > I " " " ' " ' "3 ~ -, : ~ , =i r - . ~~ !~.: . . . . . . , . _ _=L ~ _:: 1 ' . . _ I "'\. !/~ "; ., - "- " ' " l ' : i I I I I - _~ ..III 1 ,. " ~ . ."-" .J -r - - - - I ....."., I '- ,. _ . .~, ~ f' ~ ,- -;6--I -.. kt rUtI ..Mo __ ., . . . . 1 l i ,.. a . . ., ". ~ - III r v !t v :. ;; ; ,,' =A r .A ,A ~ ~ 1 ~" ~ ..Ii- -B ,- - . . . . . t l : .;u r A. V

    Copyright 0 1975t 19nHo n Productfons Amerlca_ lnet and Cafe AmericanaAll rights fo r C afe Ame ric an a in the U~S.Administered by Intersong-U.S~A~.nc,All rights outside the U.S. Controlled by PolyGram International Publishing, Inc.International Copyright S ecured All R ights Reserved

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    Esus4 E A E Esus4 E AEnd Rhy. FI .. 1r0e " ~~!i i -6_ - 1 ' - : ~!i i! eL , ~ ~ .... . L... ... _. . . . . . . . . .v J .. #", II ..# .~. 7 . ! . . a t . L . . . .. - 'W "" . . . . . . . . .~ - .. . ~ ./.s.. . . . . . . . . .- - . . . . .- - -leI ring -- - ~ _, let ring - - - - - - - - i

    e e e .I! .I!i "- . . ". . . . = = : , ..A . . . . ~ -:~, 1 I~V I"U :: :~ i , I _ t ' 1~ ~, 1, ~~t t ~ ~ ~t. ~. ~ ~ ~. ~~ !~ X ~ ~ : ~~r ~ ~ !. :. J , r r J ,ill t ~ A ~ . . i i i I'\. , v t: !. ~ .. .- - -I o t . J ~ " "

    I""

    It ~ ~" - - . . , l! . , . . ~ - - - . . . . . . . , _ , _ ~;- - - - , ~ ~ ~ ~=& ~ !r , , ~ !~",.1...a_ .. _ , c... I...a. "'. . . . . , . . . , . . . . , . . . ~ . . . . t:.I l I J I I I I I ) , , - . . . I r " " " J I I I I " " ~ . . . . . . .' - ' I . 1 -. . . ~ .. ~ .. . . . . . .. ,~ - - - ~ '-- ._-.J -- ;6"- -" ~ _ . . . . . ,. . . . . -

    ~ ~- - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ k t r m g - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~1.11 .,._ .. '- ,, ,.. 4 [ tJ 1 t,I t t ! ~ ~~ , . " . r . . . ~ ..I l j . . , 1,.1. ~~ , II r ~I [ ~:. .. j . . . . .'" ~ , , V 11 A J t v . . , .v

    Example 2 Intro, Verse and BridgeThe recording of Exam ple 2 and 3 includes the second guitar part on ly.This allows you to practice either guitar part with the rhythm section alone bypanning your stereo's balance to the left speaker.If you've mastered the intra to "Rock And Roll All Nite" (Examp!e 1). youshould have no problems here. as this example contains many of the same riffs.It w ill. h owev er. te st y ou r ability to perform the riffs sm ooth ly a t a fast tem pol Ifyou have trouble keeping up with the recording, practice the song by yourself.Bring the piece up to speed only when you feel comfortable performing the riffsat a slower tempo. A major advantage to practicing new material slowly at first isthat you are more likely to hear and correct any mistakes in your playing.

    Ex. 2 [Track 15]Intro Otr. 2:w/Rhy. Fi~ 1G/B D G IB D A E-tt. 1 > > - -1 1 \ (drums) ~ l~ r " ~~ " ~~; ..- . . . . . .=L .. J :: : ~ ~I ~ .- ' " " " ! f 5 - . . . . . . I I ~ ,. ~ - " ,c., . . . . .. ! ' I I I ..tl . . . . . . . . . . . . c . . . .. -J.",__", , , . I . . . . . . . . ~ I - I "- .#: ....l. , ,- ~ ~ ,,_ -.. . . . . "'-'; 1 5 . . . . -..f ~ let ring - - - - -

    _-- .!' . I" ""0 ,.. a . . , a a , . ' - . ., ~.I -J V , v ~ ~ ~ ~ . . . . . . _ ' ~ ~ Jr- - I II . .4. I . . . . I A ~ ! !. 1 . " , - " ' ! j- - - - .. . ..n , v I - - - , "' ! ~-_ . .. , u - ,U

    .~.p..,lllt:i

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    A E A-8 I " " " " " " "11 ~" :. . . . _ - - - . . . . . . . ~ , ~ ~ e !: ~ =L II r: r ""\ .r ""\~ ~I .. " ~ ,~. . . r '-1" J r .. .. . . . . . . . - -, ," " .J ' - " ' - . . . . . . . . . . . . . , . . . . . . . . . .t - . . . . . - '- ../- .............5-. - ~-~ '-., -/- - - - - - - - - - - - - - - .. - - - - - - - - - - - ~ k t r m g - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~

    rIt., ft .., . . . ., ~ 1.H. , . ~ .. "~~, ~[ IfIt ~ . ~ .. '" Ii , ~ ~ 1 -, j n. 1 , tl! ~, II ~ . . . U . . . . . , U ~ - . . . ~ II J .. . . . ." . , f V ,, A. , V l,V

    It I ~ "Fr- "Fr- "Fr- S. . . . .~ ~ ~ ~~ 1 6 - . . . . .II ~ , . . .' " oW I P ' ".. . I~ IL ~'I , I I I ..~ iJ I , r . . . . -Rb1-Flg.l You show US ev , , " ' r y - thing you 've got..; Yo u keep on dane-in' and the room_gets hot.. . . . . . . . . .oe.i I " " " " " " ' "~-6"" . r~

    !~-~~ t = St L ~-15 I- ~L' .. ~ -: . .. ~ eI -. r : . . ':. .~ I ~ . .I ~ ~:: ~t- .L... . . . . '-- _ _ , ~ I La . J t ! I I I l . . . . . . . " . . . . ~ . . " l 1 l i" "- ,,;I . . . . . - - --" +.-" r;tS_. -" " 1 i i I I ' . . . . . . .~ - - leI ring - - - - - ----i ~ J . ." -11\ .,t . . _ . . . . . t 1 tII IU IY' ..t~ ~. '..V I I , . . , I it t ..~ ,. ~r ~ ~ r ~, ~, ; ' ~, . , J ..1 t ~t .. J ~ :~ J , 4 ~~ ,, .U !~ ;, . .. jp~ ~ , I ~ ' I I ". . . A. . . . V "" V..Ott. 2 (right clwmel) -. . . .A. ~

    ~~ e:=h. . . . . . . . - - . . . .~' ~ -... , . . . . ~.:_ - - ...- .~ ~ . . r:.. . , .~ -~ . . . . . I "~ I~ lJ _II, ., . . . . . . . . . . . ." ~,-- . . . . .- . . ~._ 1 . .. _ .L '" . . ; r ..".... -I._"" .L~ - . . . . . , . . .-'" =#~-iS-.. . . . . . , ; - . ; ,kt r in g - - -- - -- - ; le,rill6 --

    . .. Jl . " , . . .~[ I, ~~ , 4.. .... t j ... . . . . J4 I ,. r ~, . . . : ~, ~I , .til ' , . . . 0 1 l j ,[j i r ~ . oj _ . ' ! I I ~ " J ~ ir r . . . . ~r ~-.. " . . .. u II .. . 'II ~

    1stVerse A Esus4 A E9

    13 Dsus+ Gadd9su s4 E

    Esus4 E D

    D Dsus4 A

    we'll driveou drive us wild, _ you era Eod Rby. Fig. 2>

    > >

    --- --- --- --"--I

    . 2 . 9

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    Ott..1:wJRhyt F ig . 217 A E Bsus+ E A E Esus4 E DIt_. t ~ t r

    ~.",. s . , . .t ~ E~-. ~ . . . Jf /I . . . . .~ . . ,. . . . . 1 4' "" ... ~ " ' " l I I ,I",. 1 I 1. t

    You sa y y ou wan -n a go for .. The par-ty's just be-gun, we'll let a spm.c, you In .Otr.2 . . . . . .r---

    " t-J:: r,

    t

    ~~r '~ ~

    ,..."._

    ~III ~ ! 5 - . . . . . . . . ..".._"I I . .. -. .. t " " . . I "'~ . . ,-~ i c.. I , . . ,~ I.J ~ . . . . . # ' - _ . . . . . J# .- ~- _ _ , - I I I.J .. . . " " " ---, - . . . . . . .-~ -- _ . _ ; . _ ; , ~ . '-, ~ . . . . . . . ,_Ij -' " ' ". _ _ , - . .

    let ring --- -----i let r ing . ...6 . 'ac j III .1. j ._ ~~ ~~ , 4IIII J" - . . . .. .. ft _. .. Jll" . . . . .n. ~~ ~I ~.. ....t. : ~~ I.- 1 t I I 1 I I 4 1 r . . . ..l .. j l ~t~"j J t ~r ~ r ' . . , 1 A ~r !~ ~, . . . . .,"\. r" :ft. .- v ., I f# ill. .

    Otr.lDJ D Fsus+ D E Esus4 E Gadd9 J J . ,- -

    You drive us wld,-- we'll drive you era - zy. -

    .. . . . .

    -.n ..- -._ A . . . . . . . ~ '"I .

    vI In J. 1 r~ 4 , -'_IHl ~

    ' . . I I 1 I I 1 . . . . -I ,. jjlll ." u" ~,

    u 4 ",1r. . A . .. .

    Bridge p 6 F o 06 G 06 G A2S 1\ ~ ~ ~ ~ ~I ..=t- il ~ . , . . .". - . . . . . . . " r, ;p - - ~~ WI I .. "" I~ J - I ~. . - rYou keep on shout - in', you keep on shout - in'. I

    Olr.l

    t~ ~,..........". .~ tt t ~ r """ - ~ ~- " " " ' - -.:;:L ~ . . . . . . ~ 1 /1 .. . L-. l' -~ . . . . . .' . -, . . . J P I ' " . , . , - - - . . W, . . _ _ . . . .~ - La. II I..a lA t .....L l.- t- . . La ~ -,. .. .. . , . I~. 1 J. . . . . . . . , . . . . . . . . ~ J I I I I I " ' " . . . . . . . . . . . ""-. t ~ . . . . . . . . . . JT -,- -' - oJ--. . . . . . . . ,.,~ -~,.. \. . . . .

    ' II I ' ". . . . " 4 fl r J X 4 i~ ~l J! ~ t II ~ ~ ~~ !-,~" j r~ 4 I-eft 4" r 4 1 1 1 4~ 4A '1 ~ ~I ~ ~~ I _I II,,~ l, 4ft -~ . . ,. 'II l 1 li . . . ~ III nV ' I: IV a -.:' . .: .:: ~;: < l 1 l i : ' ; 4 f : l 4~ :~_ . ; ; , .:: '-~ . ...V V V V . . , u IV IV IV IV IV IV ,V IV IV -,. ~ill

    Ou.2 -~~~

    ~It t : . , - ; ::,"' " 1 1 1 1 -~

    '-

    ~

    ~ ~ I: ~ . , . . . . . . - . -] lID , . . . . . " - - . '" .,~ 1 I :.~ J . . . ~ . . . .. . - . . .,. . . - .. .. . ,i- I~ ,.J I . . . . . ..J . . . _ _ _ , . . . . . '- "I-~

    ~~ .l.1 ~,. '- ' .IiliA . . .. _ I I I A .. . , . . .. 1 1 1 _ . . . . . . . . . . 1 " 1 . . . 4ft ~I"- . . . . . . . I t

    .IIi -. ~ ': -.:' ~ ~ J: ~~ . : : : .ft ~ = - ::. :-: l: .;: , , ' " 'V V V V V . . . . . IV IV .V IV IV IV IU IV I . . , " ' -gj~$I.'i.~J'::y

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    Example 3ChorusWhen perfo rm in g th e c ho ru s section of "Rock And Roll All Nite," u se co n-

    stant downstrokes to reproduce the guitars' heavy, aggressive attitude. Alternatestrumming not only sounds weaker when compared to the meaty downstro keattack, but would make many of the guitar parts in "Rock And Roll All Nite" moredifficult to play.Ex. 3 (Track 16]

    ChorusA D Dsus+ D E Esus4 E Esus+ E

    ~ 1 11 trr.- - J r " # " br~. ~ ~

    '~ ~::;( " III -m .~ ~ - .~ p._ . : z : : . " I - - J - .,~ ~ ' ! I I " ~ .I ,, - f J,. .J I ,-I I II...... . , ,.. .....I - -- - -I rock and roll.; al l .. an d par- ty ev- cr-y day._an - na RIte -Otr~1 : . . . . . ., . . - :e~ : : = : : : - 1 5 ~ ~ " I ~ e. . . . ,i ~I t . """'\I .r:~, ~ ~ -...... r.. _~_ r . . . . . .- ~ ~ . . . . .".III .LiII ._ f'- .J :-r . . . . . . . ~ . . . . . . . ~ ./" l- , ~ ...." . . . . . - L . . . L .. . . . , . . . . . . . .J ~ ~~, /4: - , . . . . .~ -~ ,,,,-. - a ---..... -'- _#

    ,/

    - V 1ft r .A ..~tJ .. x J. f ~'" r ~~ A..4 J . , ~ ~, i i i ' 4 ' r i ~,. . .. " ~ ""- J .. I I. J .._ft til ~ ~ :~ ~ t , : , ~: ~ -~ ~ , ~: ' ~A . .IiiiiI . - . , ~ ~ ill u ~ ~ ~ I I ~ JV

    - - - -Otr.2 P"""""Ii II- ~ ~ ~ , ~:-:~ ~ -

    ~

    . . . . . . . .=L~ .lI. _.r ~ ,. "\.~~ -r ... ... .. . ., , " " " " "" " ~ ~ I . ., ~, , - . ~ ---r .J.........."- l...o" " .~~.- .. _ . . . .. . .. . ..1 " " ~ " - = ~.;:. \ r . . . .- . . ' ._~ , " ,I. . . . . . . . --_..I , ~- ,,/let ring ---- .. .... -J

    - - .- . , . . J ' " }! ~, r A ~rj ~ ~t ~ .. ~tA ~. A ,:' , 4 r . . . . r IL ,. ... l .. .. .. ..B ~. ~ :. : .- !. ~ ;. z J ~ I~ :, ~~ , !-' :~ ~ .. . : . : 'iI' ~ V ~ . . . . . . , ~ j j jiJ it! . .

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    DETR ITR(Destroyer '76)Words and Music by Paul Stanley and Bob Ezrln

    Example 1 Introduction"Detroit Rock City" is one o t the few Kiss songs that features an extrava-

    gant arrangement of multiple guitar parts. By orchestrating as many as five differ-ent guitars at one time. Kiss create a huge -Wal l of guitar" soun d w hich se ts apowerfu l mood for th e song. However, even Kiss themse lves don't have enoughguitarists to recreate the exact studio recording livel Therefore, for performance'ssake I have omitted the least audible guitar parts and arranged the transcriptionfor "Detroit Rock City" to accommodate a two-guitarist band.

    When playing either of th e guita r parts in the introduction, be sure to per-form the 8th-note rhythms in the example with a triplet feel, as indicated in thetranscription by ..(J1 = J after the tempo ma rk in g. (These types of rhythms mayalso be referred to as shuffle style or swing 8ths.) A triplet is the rhythm of threenotes played in the space of one beat. To get a feel for this rhythm, tap a slow 4count with your foot and use your hand to tap three even attacks for every beatyour foot counts. When playing 8th notes with a tr ip le t fee l. the first 8th note of abeat is equa l to the firs t tw o notes of a trip le t, w hile th e s eco nd 8 th n ote is actual-ly the th ird note of the triplet. The best way to learn this feel is to study and playalong with the recording for Example 1.

    If you a re the sole guita ris t in you r band or just w ant to jam through thesong by yourself, begin the introduction with guitar 1. When you get to measure9, switch to the second guitar part. This change in harmony will help to liven up asingle guitar performance.

    AS)(0 x AS t)'Pe2x x Bxx xx~~

    ~r ~ t 1-n ~

    4 t 1 1 1111 I 4

    n#5x xx F - Sx xxt ,

    ~n~ ~

    h ~,~

    ~r.~6 fr. 4&. 9 fr.

    13 3 133 133

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    Ex. 1 [frack 17]Intro rJ..,Fast Rock J = 184 (Jj= J )Ok. 11 .." ~iii~ iii I._ -".II I J [' \ . ! 1 : . J ' _ --r T I I I

    t - - - .. . . . . . .1 I f f cresc.. . . .IA- -ft .. . _A _ .. .. _ ,._ A . . A _ . A _ .. A .. . _t . . A . . . _ . . ~ . . . . ..II 1M ~ A. . . . . . . , 6 . . ,6. .. . A . . . & ., . . . . ~ . , . . . .. , . . . . , . . . . ., . .

    implied tonality ~

    Otr.2I \ _ JFL' , 1- "" - - 1.III . . . . ..-.J -. . . . . . -

    1 m f cresc .~- A ~ . . . . . . . . . . . . .. . ,.~ v . . 'iii . . V . . U . . .

    A B4 A . ~I ".. ~= L - 1 -~ ~I II~ JW . . . . . ., . . .- , . . . . -. ..

    fflilt.. ~

    . ~ ~..a . . . . . . . . ~l ,. . . . ,- ., . . . . . . .A ~, A .~-

    - --~ .. . . ._ ' ' i s : -, -/--- '0-~-~--

    ff

    II. .. ,. a ,8 If I I 1I I...

    "- 11'v-Otr. 2 not audible on recording

    Copyright C 1976 by Hor t Produedona Amarica. Inc., AJI B y MyaaI f Mus ic and Cafe AmericanaAl l rightI to r cata_In 1he U.S. Admin is tered by Intersong-U.S.A.. . I I1C.AU rights outside th e U.S. ControUad by PolyGram International Pub tl sh in g . I n c~International Copyright S ecured All R ights Reserved::-l~: ; , l f f i "" i ; J. ; ;" :- -~ II " : ' !

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    Ex. 2 [Track 18]1stVene E5, " ~ ~ I""""".~j :II 1 1-r . " - -ll I ,.~ J . . . . . . . I I

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    Example 3- InterludePerhap s th e most c ha lle ng in g part to playing the interlude to "DetroitRock City" lies in the second half of measure 8. Here, all the guitars need to playtheir trip lets perfectly in synch in order for the lick to sound tight. If you experi-ence any tro ub le when perfo rm in g these lick s u p to speed. try prac tic ing themusing alternate picking. A lternate picking sim ply m eans to sw itch betw een dow nand u p pic k attacks (d ow n, u p, down, up, etc.). This is often employed by gui-tarists when clean, precise rhythm s are required, such as in m easure 8 of this

    example. If alternate picking is a relatively new technique to you, start out slow ly.beginning with a down pick on the first triplet. Before you try playing along withthe recordlnq, practice this one measure over and over until your right hand feelscomfortable with the l ick.

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    Ex.3 ffrack 19]Interlude (C~ )N 6 C A mG t t . 3 j ' 1 11 I ~ ~ ~ I~F&' II;~ ~ , J .I 9I. - . . I. eI ~, . - . . .. ~ w . , &I ., -- I. I - . ~ . . 1 I~ -- , I' " .J -r - V V '._.,. r - .. . - - -~r - -Gtr.l ~ "- -d O HIS' . .

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    Proceed through the res t of E xamp le 4. sim ila rly w orkin g o ut fingeringswhich allow you to most comfortably play the licks. Afterwards. you may need torun through the solo slowly a few times by yourself in order to get used to thenew and some times s trange fin ge rin g pos itio ns . This "thinking ahead" approachto guitar playing is well worth exploring as it may come in handy in working outother guitar solos or even in composing your own fretboard extravaganzasl

    Example 4 - Guitar SoloIn the solo fo r "Detroit Rock City." Ace Frehley and Paul Stanley give their

    licks a smooth. glassy feel by employing lots of slides in between notes. Whileall these slides create a more interesting guitar solo, they pose a unique chal-lenge for the beginning guitarist. If when playing these licks you feel a s lig ht d es -peration as you try to keep up with the recording, you may need to stop andw ork out some p red e te rm i ned fing e ring s fo r the licks. For example, check outmeasures 4..7 of Example 4. After playing the first four notes in measures 4 and5, you'li probably find that your middle finger will be all set to perform the firstslide in measure 6. right? Wrongllf you proceed this way, you'll leave yourselfno choice but to use the weaker pinky finger on almost half of the notes in thislick. However, had you started this slide with your index finger, you would haveset yourself up to more com fo rta bly p la y the rest of the l ick.

    In measure 10. you may be tempted to begin the slide from the note C~(6 th f re t) to the note B (4th fret) with yo ur in de x fin ger. H ow eve r, yo u'll soon findthat you've forced your index finger into making a quick and most likely clumsyjump down to the note A (2nd fret). Begin the slide with your ring finger instead,as th is w ill set up your index finger to effortlessly play the note A. resulting in amuch smoother sounding lickl

    Ex. 4 [Track 20]Guitar Solo1 -Gtr 3 N.C. 3" ~ - -FL II - ,-.# . . . . . . . . ~ ~ ~ - - . . . . . . . - &_. . . . . . . . . . . . . . . . . . . . ~ . . . . . . . . . . ..II I - - ~,.1 - - . -.1 I 3 I t S J.JS - - - -I L..-.-

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    UTIT UTL(Destroyer - '76)Words and Music by Paul Stanley, Gene Simmons and Bob Ezrin

    Example 1 Introduction and 1st VerseWhile the notes and rhythms in the introduction to "Shout It Out Loud"should be fairly easy to follow. p erfo rm in g th e b en t n ote s in measures 2and 6 inperfect harmony with another guitarist may prove a little more challenging. Notonly do you have to concentrate on the proper distance to bend your own string.but you have to do so w hile lis tening to the other guitarist bend his note a differ-en t in te rva lli c d is tance . (You need to consciously or unconsciously listen to theother player like this in order to best "lock into" each others' rhythms. Doing socre ate s a nice, tig ht harmony guitar linel) In o the r words , wh ile you 'r e trying to

    bend. say. the note D# (11th fret) up a half step. your ear is also picking up onth e o th er p la ye r's whole step bend. making the intonation (proper pitch) of yournote a little harder to hear then usual.The best way to prepare for performing Example 1 with another player isto practice perform ing the 1 /2 and whole step bends ahead of tim e (see Ex. 4 for"Deuce"). This way. you can rely more on your fingers' experience to perform thebends correctly than i f you just used your ears alone.

    Ex. 1 [Track21]IntroModerate Rock ~ = 135

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    Copyright C 1976 by Hon P ro duc ti on s Ame ri ca . I nc . cafe Americana and AU By MyseH MusicA ll rights fo r cafe Americana in the UtS. Admin is te red by I nt er so ng -UtStA. I nc .All rights outside the UtSt Controlled by PolyGram Internat ional Publishing. Inc.

    J n temationaJ Copyr igh t Secured AJIR igh ts Reserved

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    8Ist Verse

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    -~,~ _ft\.};. . . . . . . 1 ., " " " " II J. ~I\ ~ , J. nil - .., i ll -~ II ~ ~,j ~ I

    Ar - 1 1 _ , ,0 f 4 1 t~ - : r 4 . , . _ ~. . . . . , _ . _ _~ . . . . . . - _ ~ . - _ _ _ _ _ . . . . . . .r_................. .,......,____~_-----: t~~~--..-,.----::i ..............- .........._ ..__---.....,..__..----.

    ',IIIIIIIl ~- ............. --- ,,---+----+---+-.,.._- ...... . _ - t r ~ - - t- - " _ , .,._-----4~-u.,......= = ~~~=~+ - - - : - - : . . - : . . - : . . - : . - : . - : . F - - - - . : -+ - - _ - - ~ ; + - - -.........., ,A B

    . . . -_ you're gon - na find You've got to treat you r - self like~~~~~=:~~~~~.. ~ ~ ~ ""' ..... -is _ ' ' ~ = ~ : . . . - - . . . . . . . - ~ . _ . . . - - - - _ i I I I I I I I I I I I I I I _ - - . . . . . ~ = -" ~ r ~ ". ~ ~~ /" """T ...., -:...,. ~ ~iiI.~ I I I "" T .. ......... .F~ ~ - - - - - - - - - -~ ~ ~ ~ ~ ~ ~ ~ ~ - - - - - - - - - - - -~ ~ ~ & ~ ~ ~ ~ ~ ~ ~ - = = = = = = = = = = = =- : : : ~ - - ~ ~... ~ "- ./ -tS~ U~~__--. --~----_~

    it? Think __ you're gOD .. na find o t t ?1._-

    III_

    I . . . .Ii.

    L fl. u .,. , A A

    14 It ~ ~ )r r '-. ~.. 1 ft - - - f i t . . . . #=L I II J I . ., - ft It1 , , I I~ ~ .I-tDum-ber one. Do you n e e d to be re mind - ed? Need to be re - mind - ed?

    ~. . . . . ., . . . . . . . _ . ,

    ~~ " "~~~: -is . . .1\. l ~ .T , 'r ~~' . . - . . ~ .. ~. '" : . . . ~ ... . . . . . . ~ ~. ., . ., I ~ ill

    ~~ ~., .

    "" .J .",.. I I I , .." \ . . ' .J ~. " "- j ~.t - . . . . . . . . . _ !:T. - I~ ~ . . -.... . . . . ~'-"" '-" -r'"#....... . ~ e11.' ~~ = =n ~ . J ~. ~~ ) '- J r ~~ ~~ ~:iII . . , .r JI ' !,t J J. .".~. .ill it\ t .1 ill It ~ iil .i r T6 - . . - . . . . . . ... . .. .. . . . l' fill

    Example 2- Bridge and ChorusMany of guitar 1'8chords in Example 2 closeJy resemble those found ingu itar 2 's part in the intro to MRock And Ro ll A ll N ig ht. " These riffs are performedin the same manner. For re view , to p la y th e first two chords of the chorus (atmeasure 10), simply barre your index finger across the 4th fret for the first chord,

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    B. Then, add your middle finger on the note E (5th fret) and your ring finger onthe note G# (6th fret) notes to complete the next chord, all without lifting theindex finger's barre off the 4th fretl Again, most of guitar 1's chords in this exam-ple can be performed this way.

    E x. 2 [T rack 22 ]BridIe

    D G/B D G/B D/B A,.--.._ A Er:A t _ , . . . ~l - It _ . If - -., . J W . ~ . " . ~ 1 1 1 6 - ~ I ., 1 J - . , -II I T [ _I_ I " v: t I J~ .J . . . . . . . ...IIt does- n't mat - ter what you do or say. Jus t for - get the things that you've been c told.Dy. F1g.1

    G irt 1 ..,,/'\,/'\..,r - -~ . . . . . . . . . . . (~\ t ; j . .. .. .. .. .-~ . . . ,. . . . . . . r ~ ~ -r .II~ ,.L . . . . . . . . . _ , . , _ ~at - -.. - ___.,.~wI'\/\.,/\/

    . . . _ . .. .. . _. III 4Il . . . .. k :. ~. !I J' J ~ - " _X :: _ 1 ,~ r ~,a- t . .. ~. ~ 'Ii. J, ~, t" ~: : ~ ~n 4 ~ .., ~ -!: 6. . . &. ,-J I I I I L.. , U vRby. F J c . 1 A

    Gtr a 2- - - -._ ~ I - 1 -

    ~~ _II I I-r 4t . t I J ~ - . . . . . - ~~ , :II( ~ ~ ~ ~-,~ .J .. . I I I

    ~

    . . . . . ~.J . . ., ~~~

    ~ 4- . . . . . . . _ - - - - - - +. . . . . .'- / --- .- jl to. ft . . . 1 I i I 4. ~~ : ~: ~ ~l t .p . : : - -~ - - .. . . .. . n u u V ., V 1, V \J V ~, ~ . ~ i :: ! 2 .~ ~II. .. , . " 1 , V U " , v =,

    -

    A l E D G/B D D/B A

    oth - er Ev - 'ry-bod-o it an - ye can't- -'-~LI I

    -let ring - - - ---ift. ~" -lit . . ,. III' _ .II t: 'Ii.'H'A .ft A Ii. IIII , f I f!I v ' IIii' .Av

    ..It -. . . . . . . JV I I

    ~L': " '" . . ~ r , .. ., . . . _1 ..._"\.: ~ I I I l I r- ~~ .. .,~- "'- r# '- - _ ,- -. . . . ~ '-.,,;....J - - -

    _ . I I I,. . . A .. . ~"

    ~~ ~r t ~ t ~ .. p J~"l A ~ II_r~I' . . . . _ . , - . . r lit v V V V " V ~l .. - t._: , ~ .- ... &. . . . ,j - - .;".\' 'J .. ' . . " . . . . .

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    he rhythm section. Pe rfo rm ing a unison bend involves bending a note up to the samepitch of another note on the next highest string. To playa unison bend such as theone In the first measure, fret and then pick both notes simultaneously. allowing themo ring togethe r wh ile pe rfo rm ing the bend . Use the top note 0 (10th fret, 1st string) asyour "target pitch" for the whole step bend from C (13th fret, 2nd string) to D. If youexperience some trouble in controlling the pitch of the bend or the string tends to Slipunder your finger, try adding your middle and ring fingers to help reinforce the bend.Ex. 3 [Track 23]Guitar Solott. 1~w/Rhy. Pi.. 1, similetr. 2: w/Rhy. Fi~ 1~ .imileD G /B D G/B GIB D A A EIi ~ ~iii ~= :L - - ""'"I . . . . . . . _. . -I~ J . . . . . . 1 loud. ~r (\A 1':- 1 ' . ~. 1':- ,- ~ ~- .$~OIr.3 ... 1 ~ r '.,Jl_ I t ~ . . . . . . . . . . . + - - W ~, ,~ ~ _3 '!II.. _ -~ - -~- - - ~ - ~ . . . . . . . - - . ; . . _ . . . .r '-" -.~' : ~ ~ ~, v J I~ ,, - -~ r tilA " I 1 ._,~I I

    "~ I a I 3 I J-f fulJ slight P..M .. - - - - - i1 / 2 I t " - - ,;le t ring --)- full full full full full"A J ! J J J ~ - - - - - - - - - - ~ ~. . . . . . ~/ . . . . . ~ . . 1 1 1 1 1 1 1 " ' ~ . . . . . . . ", . . . . ,." _'A~ . . :- ,. .'\ A . . .. . .; ;aI I " ,., ' ' ' ' ItiJ lIiI J.... I. \, . ., IV . . . . . I . , . IV.4

    ~w

    1

    Olr . .2: w /R hy . F iU 1 AlE

    D IP

    D G /B D G /B D D~~~: A 1\. 1 ' . 1\. ". r" I ~:!: .- . . . . . . . . . . ....~A ~ ~ -- - ..,--- - _ 1 I I I I r r -~': ~ . . \ 1.~ . . r - L "' iJ .. ,I~ .J l , .. . ..i. . ~ -II l 3 I J s I-. ~'--' fun ful l full fuD 1 1I full fuD~~~~~~--~~~-~~~--~~~~.~~~~~ 1 J J J J J""-----. . . . -.-- - - !!! / .8.'" . . . ..;' . . . . . _.,.". .. ._",- - -. . . . .. ~ iii .' " - 1II1II J o f I i I I I h' 'til J1IJ . . . . .A\.. .. . . . . . . . ". &" .. ~ t,

    1Al._ _t' V I "7

    A B)r v'\./\J

    G/B A~ -

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

    Rby. Fill1Gtr~2 N . C . D S

    Gtr. 1~w /F iU 1~~-

    full ful l

    FWIOrr~1 >

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    I(Love Gun - '77)Words and Music by Paul Stanley

    Example 1 Intro and 1st VerseWhen working out the intra riff for "I Stole Your Love," be sure to observethe term "le t ring" that appears several tim es above the tablatu re . In each case,this indicates not to mute any of the sounding strings for the entire duration ofthe "dashed line." Any additional notes that appear in this duration are eitherre pea ted n ote s of the cho rd or n otes ad de d w ith o the r fing ers. As a result, youshould find that your index finger maintains a barre across the 5th fret.When performing the ln troducnon sec tion , use constant downstrokes, asthis will help re-create the intensity heard on th e a lb um .

    x DS x x

    Ex. 1 (Track 24]lotroHeavy Rock Feel J = ca. 194

    j '4n

    s fr.

    133Rh,.. Fig. 1 05 D5 D7su s47su s4 FOlr.l

    f let ring ------1

    D!i & 5 CS~,.__ End Rby. Fig. I

    let r ing - - - - - - - - - - - - - - - - - - - - - - - I

    D7su s4 D7su s4S F D5 cs

    kt ring ---; let ring ---i let ring - - - - - - - - - - - - - --t let ring --I

    C op yrig ht 0 1 8 77 H on P ro du ctio ns Am eric a. I n c 4A l l R i gh ts / il Jm lnl st er ed by PolyGram Intemational Publishing, Inc.International COpyright Secured All Rights Reserved

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    1st VerseF c Gr 3 r 3A - - ~- - - -, "' -It- ~ ~ _ - I t : , """"" ,- -L, I _L_ I I ~ . '" ,. ..,. W r - I ,I ,!f_ _I I t -- r . . . . . . . l,~I - . .. .. . r.1 . . . . . . . . .I re -mem -ber the day that we met. I need - ed some -one, you need-eel some ..one _Spenttime tak all you could get. Giv ing your- self thing109 - was some . . you nev - er

    t . . . . . . . . . . "-.c>: ~ . . .:~ ~". ' > - -" *?1 1 .,~"".J.. . . . ~. ~I . . _ _ . ~ . . J'~ III:. " " 1 "- - J - - ~. I _ . . . . . , ~ .. .,'" .J L . . . . . . . . . . ~ ~. - . . . . . . . . ~ ~ . . . . , . . . . . . _.1 - - .,_,/+ I'-- _/ -iliA .. I II .. U h " . . ~: , II ~ . . . . oil ~ iii

    . " ' 1 ~~ ... I.. ~ r . . ! l I 1Irr . ._' II! . . = : ~t ~A ~.: j ,l 1 l i '-Iii I!V .. IV 'IV .....AU

    D5 D7sus4 F DSGtrl l:wlRhy. r m t, 2nd time

    D7sus4 D S &5 CS1\ f t ~~ 1Irl_" -a. .. . . . . .

    ";,. . . . . . . . _ , . . . . . . . . _ ~ . . _ , , ' \,. . . . . . - - ,~ ~ .I II "\: .J ,.. . , ..t .,

    too, yeah. - (2ndtime) Thecould L do. -_ft - - - . . -" = L - :~ ~

    b_~ , ~ ~., .._ .. . ~~ fjj ~ .. _ .I "\ " " " ' - , '- "' ~l J I F

    ~L J., ~ .J

    leI rin g - - - ---1 let rlng - . ........- - - - - - - - - - - - .. - - . ." ' - - i Ii . ..~ " "' ~f r-.. ~ . . . . . . fA' II .. . . . . - ~ . . . t . . . .. . . . . . . . .. .. A .. r i' ~ ~ "' " it i1 ~, 1. jl j ' j ' : = ~ i i i . . . .. _. ~ -- . . ..11 . .. . ~ ~ ~I r ~ , . . - ,: J :. 1 I I i I ' ~ . ii' .iI 'iJ ~~J 'iI , ~t _ . ~ d~ .. ., 1 i i i J ., g 'iii' "iI" V V iI iJ iii ~ ~J'Rhy. Fill 2D5Rhy.FIliiOtr.ltr.l

    . . let ring - - - - - - - - - ~- - - - t

    Example 2 Bridge and ChorusWith the exception of measures 11 and 12, the chorus riff for "I Stole YourLove" is nearly identical to the riff in the introduction. When playing througheasures 11 and 12, however, you'll soon find that these chords require similar

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    performance techniques as the rest o f the riff. Just barre your index f ingeracross th e app ropria te fre t on the first beat of each measure and le t your ring fin-ger do the restlEx. 2 [T r ac k 25 ]

    Bridge&1 _ " _ , , . - - . . . . . ~ a ~ - 3A _ , , _ , - . . . ,~ ~ #=L II I * . . . . . I . , . ... """'I I ., ~ ., ".. _III . . . . . . I _l J"\.': J :x - " things I heart play with head . I've got to laugh when I0 my my

    --~

    I~It ~ ~ ~:: ~ ~~~ ~~ ~ : S i - - - . .~,. " '- ~,. " . . . ~~ ....JI ~ "WI . . . . . ..IIIL,. J Y . .:. . c . . Jill ., _ .. ,L ..... -Le J u ' - _ . , . . . . , / ~ . . . . . . _ ~~ ~~ -...__" .- - - - - - - - - - - - - - - - - - ,I "i ~ _ . , . . . _ , . . '-" _Uij , :. r"III ..." . . . . . .. . . . . . . _ _ _ . . . . . . , .

    Ii ~ I. c c c. . . . ~ ~ , . . . . . . . . . . . . . -slap back from delay

    7ChorusD5 D7su s4 D S D 7su s4 D5 n7su s4

    A ..." ........,_ . . . . ~ - - .;:- -- - - -~~ ~,J! ~ ."- - ., . . . , . ~ ,. - ~" .,~ . .. t . r .! L . , . . . I"' 1 1 I.t ,. rI stole- you r love. Stoic - you r

    . . . . - . . . . .l'1 - - - - -~

    ~

    , , . , . . . . . . . . , I~ ~

    . . . . . . .~i IIl. . . . _ .. . L . . . . . .

    ~. . . . t "- " ' " ' I\.~ J ...L ~ 1 _/ I . . . . ..J .. . , , ' I I . . . . -