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0035 GUNS N' ROSES, APPETITE FOR DESTRUCTION. GUITAR

Euro 25,99

Quantità

GUNS N' ROSES, APPETITE FOR DESTRUCTION. I Guns n' Roses formatisi nel 1985 a Los Angeles, pubblicano nel Luglio del 1987 il primo album. TABLATURE

Series: Guitar Personality

Our matching folio to the historic hard rock album features complete note-for-note transcriptions with tablature. Twelve songs in all. 96 pages

Introduction
Guns N' Roses emerged from the turbulent yet fertile L.A. club scene which was the spawning ground for Van Halen, Quiet Riot Randy Rhoads, Motley Crue, Ratt and Poison. Beginning with a small local undergound following, they rapidly garnered a greater public awareness with their raw no-nonsense sound and energetic rock 'n' roll feel. Their appearance and subsequent popularity in 1987 was concurrent with a perceptible shift in audience taste towards more direct and more emotional forms of rock - a reaction against the slick over-calculated pop/rock and the technically demanding metal fusion of the early and mid 80's. In this regard, Guns N' Roses advocate and deliver a musical presence which is the very essence of rock - rebellious, immediate and evocative. The music invites, indeed insists on, audience participation and involvement a purely gut level.

The sound of Appetite for Destruction reveals an evolutionary link with the beginnings of modern rock. Sprinkled throughout the Guns N' Roses offerings are allusions to well-established and unmistakable '60's blues roots. The vocabulary of the blues/ rock tradition of the British dynasty of the Yardbirds, Cream and Led Zeppelin is apparent in the guitar work of lead guitarist Slash. while the rough, aggressive rhythm work and powerhouse song riffs show the influence of the Kinks, early Stones and Aerosmith. These central elements coexist with hints of punk rock (in the pronounced chant-talk vocal approach of the verse in ''It's So Easy" and the unabashed expletives found in the lyrics of "You're Crazy" and "Out Ta Get Me"), '60's psychedelic music (in the raveup jamming of the rideout outro solo of "Paradise City" and guitar-generated sound effects in the second guitarsololinterlude of "Welcome to the Jungle," in which stratospheric slide guitar adds a spacey quality to the proceedings) and vintage heavy metal (in the driving rhythm grooves, sustaining distorted guitar tones and visceral power chording throughout).

As in virtually all classic hard rock, the compositions of Guns N' Roses are essentially riff based. The riff, probably the most fundamental structural component in rock songwriting, is generally constructed from a strong repeating thematic unit which succeeds in grabbing the listener with its accessibility and immediacy. In the music of Guns N' Roses, the riffs are well constructed - their compactness making them ideal for elaboration.

The guitar orchestrations and harmonizations are remarkable. Notice in "Rocket Queen" the melody-versus-rhythm counterlines in the intro, slide guitar timbres in the solo, and the numerous texture and dynamic settings employed - full forte ensemble, spacious arena-like guitar and rhythm accent accompaniment, and clean tone picked arpeggiated guitars.
The harmonized guitar lines are often unpredictable and interesting, exploiting a number of interval relationships. Note the ambivalence between major and minor in the parallel harmony of "Welcome to the Jungle" as well as the variety of treatments applied to the intro riff of "My Michelle," from a light airy statement over quasi-rubato guitar chordal arpeggiations at mezzo forte to a loud metallic answer phrase (reminiscent of early Black Sabbath) harmonized in unison and then parallel thirds.

In discussing his personal guitar approach to the Guns N' Roses material, lead guitarist Slash admits to a preference for improvisation.
Citing guitarists Jeff Beck, Jimmy Page, Eric Clapton, Pete Townshend, Joe Perry and Angus Young as primary influences, he feels an extemporaneous plan of attack lends more life and energy to the music. Slash generally tends to elaborate on and re-develop the solo content on stage, except for his "signature solos" (those moments which originally on record produced a definite recognizable thematic impression.) A definitive example of his lead guitar playing is the extended outro in -Paradise City." Here, he builds chorus upon chorus of relentless guitar improvisations over a fiery double-time rhythm feel. Starting with imitative paraphrasing of the vocal chorus melody he continually gathers momentum, finally reaching a high energy climax emphasizing fast riffing, various major and minor pentatonic, blues and diatonic combinations and sinewy string bending.

An important point offered by Slash was made in regard to compositional technique. The band writes together, pooling their collective resources and influences, resulting in a multi-faceted yet cohesive output. Bassist Duff "Rose" McKagan, for example. having previously played in a punk group, brought his influence to the tune "It's So Easy." Izzy Stradlin' (second guitarist) and Slash originally created the riff of "Mr. Brownstone" on acoustic guitars, and the timbre of wah wah electric guitar e ovelved later. The first draft of "You're Crazy" was initially played on acoustic guitar and at a much slower pace (almost a half-time shuffle) but evolved into the uptempo boogie-meets-punk groove captured on the LP. There is constant rethinking and experimentation at work within their arranging and composing framework.

For Appetite for Destruction, Slash recalled that he favored his "Gibson Les Paul and old Marshall half stack with a minimum of effects" Occasionally, a chorus unit was added sparingly to process cleaner guitar picking passages (as in the intro to ''Paradise City") ora vintage Dean Markley talk box (which can be heard trading phrases with straight guitar in "Anything Goes') or a crybaby wah wah pedal was used (as in "Sweet Child 0' Mine" and "Mr. Brownstone").

Anything Goes (Axl Rose/Slash/St
It's So Easy
Mr. Brownstone
My Michelle
Nightrain
Out Ta Get Me (Rose/Slash/
Paradise City
Rocket Queen
Sweet Child O' Mine
Think About You (Rose/Slash/
Welcome To The Jungle
You're Crazy

Disponibilità:

1649 GUNS N' ROSES, APPETITE FOR DESTRUCTION. BASS

Euro 21,00

Quantità

GUNS N' ROSES, APPETITE FOR DESTRUCTION. BASS TAB.

Series: Bass Guitar Series
The matching folio to the hit album arranged for bass with tab. Twelve songs in all, 86 pages

Anything Goes (Axl Rose/Slash/St
It's So Easy
Mr. Brownstone
My Michelle
Nightrain
Out Ta Get Me (Rose/Slash/
Paradise City
Rocket Queen
Sweet Child O' Mine
Think About You (Rose/Slash/
Welcome To The Jungle
You're Crazy

Disponibilità:

1650 GUNS N' ROSES, APPETITE FOR DESTRUCTION. DRUM

Euro 18,00

Quantità

GUNS N' ROSES, APPETITE FOR DESTRUCTION. Per batteria.

Disponibilità:

3699 GUNS N' ROSES, BEST OF. PIANO

Euro 20,00

Quantità

GUNS N' ROSES, BEST OF. Per pianoforte.

Civil War
Don't Cry
Estranged (Axl Rose)
14 Years (Stradlin'/Axl Rose)
November Rain
Paradise City
Patience
Sweet Child O' Mine
Welcome To The Jungle
Yesterdays
The top tunes from hard rock's leading band. 80 pages

Disponibilità:

0468 GUNS N' ROSES, CLARKE GILBY, THE HANGOVER. OFF THE RECORD

Euro 99,99

Quantità

GUNS N' ROSES, CLARKE GILBY, THE HANGOVER. OFF THE RECORD TABLATURE

"The Hangover"
1997 Paradigm Records

Wasn't Yesterday Great
It's Good Enough For Rock 'n' Roll
Zip Gun / Higher / Mickey Marmalade
Blue Grass Mosquito
Happiness Is a Warm Gun
Hang On To Yourself
The Worst / Captain Chaos
Punk Rock Pollution

Disponibilità:

4469 GUNS N' ROSES, GN'R LIES. SCORE

Euro 78,00

Quantità

GUNS N' ROSES, GN'R LIES. BAND TAB.

Disponibilità:

1651 GUNS N' ROSES, GN'R LIES. BASS

Euro 16,00

Quantità

GUNS N' ROSES, GN'R LIES. BASS TAB.

Disponibilità:

1652 GUNS N' ROSES, GN'R LIES. DRUM.

Euro 18,00

Quantità

GUNS N' ROSES, GN'R LIES. Per batteria.

Disponibilità:

0036 GUNS N' ROSES, GN'R LIES. SPARTITI GUITAR TABLATURE

Euro 39,99

Quantità

GUNS N' ROSES, GN'R LIES. GUITAR TABLATURE

LIBRO DI MUSICA HEAVY METAL.
SPARTITI PER VOCE E CHITARRA CON:
ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.

OUT OF PRINT - ULTIMA COPIA DISPONIBILE

GUNS N' ROSES

Introdudion
Hard rock hasn't been the same since Guns N' Roses made their impact last year. In a
decade dominated by over-produced power pop, extremely stylized glam metal and synthesizerladen
new wave, the Gunners have broken every rule-returning to the essence and core of rock
'n' roll itself. With their well-turned blues riffs or their solid rhythm grooves or the inescapable
emotion lurking in every track, they are irreverent, inconsistent and uncompromising, but
irresistible, incalculable and unavoidable. However, like their predecessors-The Stones, The
Who, Aerosmith and AC/DC, they have transcended the role of music-maker/trend setter to
become the most visible and most compelling voice of youth, rebellion and counterculture
lifestyle. They have become a phenomenon to be experienced, not just sounds to be heard--a
necessary prerequisite for rock 'n' roll greatness.
Hard rock hasn't been the same in Los Angeles since Guns N' Roses' Appetite for Destruction
attained multi-platinum status. Their blues-based compactness, simplicity and riff-oriented nononsense
songwriting approach have spearheaded a movement towards the rock of the 90's.
The signings of Faster Pussycat, L.A. Guns (at one time, half of Guns N' Roses), Jet Boy and
even Jane's Addiction indicate a perceptible industry response to the phenomena. Like the
attention accorded to post-Van Halen bands (Motley Crue, Quiet Riot, Ratt and Dokken) in the
early 80's or the fascination with everything English following the Beatles' arrival in the 60's, the
focus these days is on the music pouring out of the underground street scene in Hollywood.
Hard rock won't be the same now that Guns N' Roses have released Lies in 1988. The LP
combines the early independent set Live Like a Suicide (1986) with newer tracks recorded in
1988. The contrast of the high-energy punk-cum-metal mood of the Live ... cuts with the gentler
informal acoustic moments is typical of Guns N' Roses: surprising, unusual, striking ... and never
boring. In their unmistakable iconoclastic fashion, they have echoed the individualistic intentions
of their forebears-The Beatles, The Stones, The Kinks, The Who. Led Zeppelin. They operate
without the restraint imposed by cliche formulas, and succeed in presenting an authentic glimpse
of their musical world ... they are real. The true aficionado of rock will appreciate, indeed relish,
every subtle nuance of their performance-which hasn't been punched in, cleaned up, tweaked or
edited out.
The Live ... tracks, "Reckless Life," "Nice Boys," "Move to the City" and "Mama Kin," capture
the sort of excitement Guns N' Roses produce on stage. These are sounds which got the band
noticed in the competitive and overcrowded L.A. club circuit. The eclectic blues/rock-metal-punk

element runs through each song as a unifying thread-an element clearly recognized now as
Guns N' Roses' style. Check out the heavy riff of "Reckless Life" (Rhy. Fig. 1) which rivals the
output of AC/DC, or the blazing intensity of the song's guitar solo with its odd modal mixtures (B
Mixolydian and B major penatonic versus B blues and B Dorian). The notes blur the major/minor
relationship and defy categorization. Another point of musical interest in the Live ... tunes is the
singular chemistry between Slash and Izzy resulting in that elusive, loose-but-tight, two-guitar
interaction. This type of interaction is what also distinguishes some of the best work of The
Stones and Aerosmith. Evident throughout Guns N' Roses repertoire, a definitive example of this
rapport can be heard in "Move to the City." Here, the two guitars are foils for each otherconverging
and diverging with overlapped and contrasting riff figures of double stops, diad bends,
single-note phrases (as in the verse figures) and muted lines. The use of wah-wah pedal in the
solo is characteristic of the sparse but effective processing of Guns N' Roses' guitar sound. Note
also the gutsy slide guitar employed in "Nice Boys" and the tremolo bar phrasing in "Reckless
Life" (Solo) and "Move to the City" (Solo). The slide guitar has remained a staple in Slash's style
("Welcome to the Jungle" and "Rocket Queen," for example) but the tremolo bar is gone-Slash
swears by stock Gibson Les Pauls.
The remaining four numbers, "Patience," "Used To Love Her," "You're Crazy" and "One in a
Million," might be described as Guns N' Roses' answer to Rubber Soul (The Beatles) or Beggar's
Banquet (The Stones). The setting is distinguished by a shift to an acoustic guitar-based texture
and the mood is almost folksy country-rock. This is in stark opposition to the relentless hard rock
of the Live ... tracks. There is overt acknowledgement of the acoustic guitar motor-drive rhythm
playing of Pete Townshend and Keith Richards, as well as coy references to the music of The
Eagles, Crosby, Stills and Nash, and Creedence Clearwater Revival. The guitar orchestration of
"You're Crazy" (compare this version to the faster punk-inflected rendition on Appetite for
Destruction) and "One in a Million" combines electric- and acoustic- guitar timbres skillfully. In the
former, a clean twangy electric tone is blended with the brisk acoustic strumming (largely a
propulsive sixteenth-note groove) of the rhythm guitar, and in the latter, a distorted electric guitar
provides the driving rock 'n' roll background part, with the acoustic guitar taking the solo spot.
"Patience" (a genuine rock ballad) explores the signature two-guitar interaction with purely
acoustic colors and offers a melodic country-blues flavored acoustic solo (a la Joe Walsh). "Used
To Love Her" (a tongue-in-cheek sardonic "modern folk song") tastefully joins electric (clean tone)
and acoustic rhythm-guitar work with a gutsy "chicken pick in'" approach in the overdubbed
acoustic solo lines. This solo seems to have more in common with Albert Lee, Roy Flacke or
Jerry Reed than Angus Young, Joe Perry or Jimmy Page.
Hard rock hasn't been the same since Guns N' Roses ... but it has been alive and well.

Series: Guitar Personality
Matching folio to their second smash album, 56 pages

Mama Kin
Move To The City (Stradlin'/D.J.
Nice Boys
One In A Million
Patience
Reckless Life (Mckagan/Slash/Str
Used To Love Her
You're Crazy

Disponibilità:

3322 GUNS N' ROSES, GREATEST HITS. BAND TAB.

Euro 26,00

Quantità

GUNS N' ROSES, GREATEST HITS. Don't cry -locomotive -my michelle -nightrain -paradise city -patience -since i don't have you -sweet child o' mine -welcome to the jungle -you could be mine. BAND TAB.

Series: Guitar Personality
Full transcriptions of each instrument part on ten of the best from this hard-rocking band. Includes lyrics, tab and a notation legend. 192 pages

Disponibilità:

CHITARRA LAMPO