Thursday, January 15, 2009

The Top 20 Guitarist of The World

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Guitar Port Online's Top 20 Guitarists of All Time

1 Jimi Hendrix The Jimi Hendrix Experience
2 Eddie Van Halen Van Halen
3 Eric Clapton Cream, John Mayall's Bluesbreakers, Yardbirds, Solo
4 Jimmy Page Led Zeppelin, Yardbirds, The Firm
5 Steve Vai David Lee Roth, Whitesnake, Frank Zappa, Solo
6 Steve Ray Vaughn Solo
7 Joe Satriani Solo
8 David Gilmour Pink Floyd
9 Brian May Queen
10 B.B. King Solo
11 Carlos Santana Solo
12 Jeff Beck Yardbirds, Jeff Beck Group, Solo
13 Mark Knopfler Dire Straits
14 Angus Young AC/DC
15 Les Paul Les Paul & Mary Ford, Les Paul Trio, Solo
16 Slash Guns and Roses, Slash's Snakepit Velvet Revolver
17 Yngwie Malmsteen Alcatrazz, Solo
18 Eric Johnson Solo
19 Randy Rhoads Quiet Riot, Ozzy
20 Ritchie Blackmore Deep Purple, Rainbow


Improving Alternate Picking Technique

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Why is alternate picking important? Beginning guitar players have a tendency to strum or pick the guitar strings by using a series of either all downstrokes or all upstrokes.

Although this is OK when first learning, it is important to increase playing fluidity and efficiency by using a technique called alternate picking, which is the process of using a guitar pick to strike the strings using a pattern of alternating downward and upward motions, or downstrokes and upstrokes. This has the advantage of minimizing wasted motion and results in faster, smoother playing.

The main problem with alternate picking comes when you are picking a note in the opposite direction of the next string that you're going to play. For instance, if your last note was a downstroke on the G string, and your next note is an upstroke on the D string, then your pick has to travel a more complicated path than if you are picking up on G and down on D. What to do?

Some people just refuse to let their picking hand do the more difficult move, by trying to put a hammer on or a pull off to time the direction of the pick to a more favorable direction. Others might just be using the pick to start the string in motion, but are doing all hammer or pull offs other than the first note on a string.

But let's concentrate on what to do if you are using the versatile alternate picking method. Since we don't want to limit the note choices, or string choices, in any way, we have to just get good at dealing with the problem.

Practice going back and forth between two strings picking in the opposite direction just like the example: For example, in 2nd position, play a C on the 3rd string with a downstroke followed by an E on the 4th string with an upstroke. Repeat the C and E one more time.

Next, bring the C down to a B on the 3rd string with a downstroke, followed by the same E on the 4th with an upstroke. Repeat the B and E. Just to make a slightly musical pattern, do the same thing, but change the B down to an A, doing the same pattern. To make the pattern symmetrical, return the A back up to a B and play B,E,B,E, just like the second pattern.

It will take a lot less time to play this than to read about it, so try to muddle through this explanation to get to the actual notes, it's not hard to play this as long as you don't try to play it too fast.

As with all exercises, do it slowly and as accurately as possible at first. Doing this exercise addresses one of the most important points about practicing and improvements.


Tuesday, January 13, 2009

Snow on The Sahara - Anggun C. Sasmi



Chord Prgression 1:


Only

F C G
tell me that you still want me here

C Am
When you wander off out there

F C G
To those hills of dust and hard winds that blow

C Am
In that dry white ocean alone

Bb
Lost out in the desert

F7
You are lost out in the desert


use chord progression1:
But to stand with you in a ring of fire
I'll forget the days gone by
I'll protect your body and guard your soul
From mirages in your sight

Lost out in the desert
You are lost out in the desert

chord progression2:

C (barred) G
If your hopes scatter like the dust across your track

G <--- fingerpick----> Am
I'll be the moon that shines on your path

C (barred) G
The sun may blind our eyes, I'll pray the skies above

G <--- fingerpick----> Am
For snow to fall on the Sahara

use chord progression2:
If that's the only place where you can leave your doubts
I'll hold you up and be your way out
And if we burn away, I'll pray the skies above
For snow to fall on the Sahara


use chord progression1:
Just a wish and I will cover your shoulders
With veils of silk and gold
When the shadows come and darken your heart
Leaving you with regrets so cold
Lost out in the desert
You are lost out in the desert

use chord progression2:
If your hopes scatter like the dust across your track
I'll be the moon that shines on your path
The sun may blind our eyes, I'll pray the skies above
For snow to fall on the Sahara

use chord progression2:
If that's the only place where you can leave your doubts
I'll hold you up and be your way out
And if we burn away, I'll pray the skies above
For snow to fall on the Sahara



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Drum Beats & Bass Riffs on the guitar

Falling in Love - J-Rocks

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D A
Kurasakan ku jatuh cinta
Bm A
Sejak pertama berjumpa
G Bm Em A
Senyumanmu yang selalu menghiasi hariku

D A
Kau ciptaan-Nya yang terindah
Bm A
Yang menghanyutkan hatiku
G Gm
Semua telah terjadi
Bm Em
Aku tak bisa berhenti memikirkanmu
G A D
Dan kuharapkan engkau tau

A Bm G D
Kau yang kuinginkan meski tak kuungkapkan
A Bm G
Kau yang kubayangkan yang slalu kuimpikan

[chorus]
Bm E
Aku jatuh cinta
G D
T'lah jatuh cinta
Bm E
Cinta kepadamu
G D
Ku jatuh cinta
Bm E
Im falling in love
G D E
Im falling in love with you

[Interlude & Outro] D

How To Reduce Feedback When You Play





If you've performed live on stage or even a casual jam with your friends at band practice -- one of the most annoying things guitarists have is a thing called FEEDBACK!

If you don't know what feedback is -- it's that terrible high pitched sound that comes from speakers.

It usually happens when you place your microphone too close to the speaker or play your guitar directly in front of the amplifier.

Not only does this damage your ears, but it puts your audience off when they come to hear you play!

Now I'm not an expert on the dynamics of feedback. But I have performed on stage many times and have learnt a few tricks to avoid feedback from occurring...

The first step is to turn down your treble on your amplifier. Too much treble invites feedback so don't have too much treble in your amplifier settings.

The second step is to turn the volume on your guitar up only 3/4. Don't turn your volume up full as this is invites huge feedback! Always leave a little room on your volume, so don't turn it up all the way. Only 3/4 and I guarantee you will reduce feedback at least 80% with this trick.

One other trick is to turn down the gain or distortion on your amp. When you play softly, you can turn your gain or distortion full. But when you start playing with some serious volume, turn your gain only 50%.

You will still get the same sound and distortion, but this is the trick to avoiding feedback from occurring when you play loudly.

Finally, if you're using an effects pedal, only turn it up 3/4 the way. Like your guitar -- always leave a bit of leeway as it offers more control over the sound and keeps your playing tight!

Remember this -- if you keep control of your volumes, you reduce the level of feedback and have a much tighter sound as an over all band. If you turn everything up full and try to rule the world -- you'll sound a mess and out of control.



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Sunday, January 11, 2009

What is Guitar???

Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides" Instruments similar to the guitar have been popular for at least 5,000 years. The six string classical guitar first appeared in Spain but was itself the product of a long and complex history of diverse influences. Like virtually all other stringed European instruments, the guitar ultimately traces back thousands of years, via the Near East, to a common ancient origin from instruments then known in central Asia and India. It is distantly related with contemporary instruments such as the tanbur, setar, and the Indian sitar. The oldest known iconographic representation of an instrument displaying all the essential features of a guitar being played is a 3,300 year old stone carving of a Hittite bard. The modern word, guitar, was adopted into English from Spanish guitarra (German Gitarre, French Guitare), loaned from the Andalusian Arabic qitara and Latin cithara, which in turn was derived from the earlier Greek word kithara,which is related to Old Persian sihtar.

The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their conquest of Iberian Peninsula in the 8th century. Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried. By 1200 AD, the four string "guitar" had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck.

The Spanish vihuela or "viola da mano", a guitar-like instrument of the 15th and 16th centuries is, due to its many similarities, usually considered the immediate ancestor of the modern guitar. It had lute-style tuning and a guitar-like body. Its construction had as much in common with the modern guitar as with its contemporary four-course renaissance guitar. The vihuela enjoyed only a short period of popularity as it was superseded by the guitar; the last surviving publication of music for the instrument appeared in 1576. It is not clear whether it represented a transitional form or was simply a design that combined features of the Arabic oud and the European lute. In favor of the latter view, the reshaping of the vihuela into a guitar-like form can be seen as a strategy of differentiating the European lute visually from the Moorish oud.

The Vinaccia family of luthiers is known for developing the mandolin, and may have built the oldest surviving six string guitar. Gaetano Vinaccia (1759 – after 1831) has his signature on the label of a guitar built in Naples, Italy for six strings with the date of 1779. This guitar has been examined and does not show tell-tale signs of modifications from a double-course guitar although fakes are known to exist of guitars and identifying labels from that period.

The dimensions of the modern classical guitar (also known as the Spanish guitar) were established by Antonio Torres Jurado (1817-1892), working in Seville in the 1850s. Torres and Louis Panormo of London (active 1820s-1840s) were both responsible for demonstrating the superiority of fan strutting over transverse table bracing.

Friday, January 09, 2009

Di Antara Kalian - D'Massiv

Am
kuakui ku sangat sangat menginginkanmu
C G D/F#
tapi kini ku sadar ku diantara kalian
Am Bm
aku tak mengerti
C D
ini semua harus terjadi

kuakui ku sangat sangat mengharapkanmu
tapi kini ku sadar ku tak akan bisa
aku tak mengerti
ini semua harus terjadi

Reff
Am D G C
lupakan aku kembali padanya
Am Bm Em D
aku bukan siapa- siapa untukmu
Am D G C
kucintaimu tak berarti bahwa
Am Bm C
ku harus memilikimu slamanya

Em D C
aaaah aaah...

interlude : Em Bm C G D/F#

Buying The First Guitar for Beginner

Choosing a beginner instrument can be tricky, since the chances are you don't know a whole lot about guitars to begin with. Your first decision involves choosing to learn on either an electric or acoustic guitar. Once that choice has been made, you're going to need to decide on a budget for your purchase. Avoid buying an ultra-cheap instrument, as it will not only make learning guitar more difficult, it will also have little re-sale value.

Acoustic Guitar
These instruments provide the most hassle free way to learn - there's no fussing with amplifiers and cords - something necessary with electric guitars. The drawback is that acoustic guitars are harder to play. A low quality acoustic guitar can make it virtually impossible for a beginner to progress quickly. Avoid cheap pawn shop acoustics - a slightly more expensive guitar will pay off in the long run.

Electric Guitar
Choosing to begin learning guitar on an electric probably means your budget will have to be slightly higher, to accomodate buying an amplifier. The advantage of choosing an electric guitar is that they are generally easier to play, so you'll notice improvement more quickly. If the music you like tends to be more electric guitar oriented, you'll probably want to start by playing one.

Bass Guitar
Although not traditionally a beginner's choice, the bass guitar can be a rewarding instrument to start learning music on. Because rock and roll bass is generally somewhat easy to learn, beginner bassists will often be playing songs within a few weeks. The downside is that bass guitar often sounds "empty" when not accompanied by a guitar or other instrument.

Thursday, January 08, 2009

Umbrella - Rihanna Feat Jay-Z

Jay Z:

Ahuh, Ahuh (yea… Rihanna) Ahuh, Ahuh
Bm D
You had my heart, and we'll never be world apart
A G
Maybe in magazines, but you'll still be my star
Bm D
Baby cause in the dark, you can see shiny cars
A
And that's when you need me there
G
With you I'll always share
D
Because
G
Chorus: When the sun shines
D
We’ll shine together
A
Told you I'll be here forever
Bm
That I'll always be your friend
G
Took an oath Imma stick it out 'till the end
D
Now that it's raining more than ever

A
Know that we still have each other
Bm
You can stand under my umbrella
G
You can stand under my umbrella
D
(ella ella eh eh eh)
A
Under my umbrella
Bm
(ella ella eh eh eh)
G
Under my umbrella
D
(ella ella eh eh eh)
A
Under my umbrella
Bm
(ella ella eh eh eh eh eh eh)
Bm D
These fancy things will never come in between
A G
You're part of my entity, here for infinity
Bm
When the war has took its part
D
When the world has dealt its cards
A G
If the hand is hard, together we'll mend your heart
D
Because
Back to: Chorus

G
You can run into my arms
D
It's okay don't be alarmed come into me

(There's no distance in between our love)
G
So gonna let the rain pour
F#
I'll be all you need and more…
G
Because...
Back to: Chorus

G
It's raining (raining)
A
Ooo baby it's raining
F#
Baby come into me
Bm
Come into me
G
It's raining (raining) – FO/Fade Out

Child - Nidji

Intro: C

C Em F
I’m one … I’m child … I’m the saint who marches in love

C Em F
I’m the paint… electric pain bolt of thunder in the rain

C
I’m the blood … I’m the key…

Em F
You are evergreen who blessed in union

C Dm Em F
Let them born in to this world … let them sing into the sky

C Dm Em F C Dm
Reff: I will be fading … I will be fading … and I will be fading …

Em F
As your child … as your child …

C Em F
Don’t let go… don’t be frightened… don’t be scared and don’t be late

C Em F
I’m one … I’m child … I’m the saint who marches in love

Back to: Reff (2x)

Int: C Dm Em F

C Dm
(*) I’m your child … I’m your child …

Em F
I’m your child … I’m your ma … ma … ma …

Back to: (*) 2x

Coda: C

Epiphone Prophecy Series Electric Solidbody Guitars

Over the past few years, Epiphone has reinvented its image by taking on the role of a rebellious young upstart, challenging even its own status quo by introducing the upscale Elitist line and Slash and Zakk Wylde signature Les Pauls. These models seriously upped the ante in terms of materials and features, but they remained competitively priced, a combination that fits right in with Epiphone’s philosophy of offering exceptional value for your hard-earned dollar.

In the process, Epiphone’s guitar line has expanded rapidly with models that offer uncompromising workmanship, playability and tone—qualities that make the company’s guitars attractive choices for discriminating players ranging from beginners to experienced pros.

With the introduction of its new Prophecy Series solidbody electrics, Epiphone has shattered the price/quality barrier. Featuring hand-stained quilted maple tops, 24-fret necks with jumbo frets, and pro-quality options like EMG-81 and -85 active pickups and original Floyd Rose tremolos, the Prophecy models offer the features and craftsmanship of custom guitars, yet they’re priced to compete with most companies’ entry-level models.

FEATURES

At present, Epiphone offers eight Prophecy models—essentially four different body styles (Les Paul, SG, Futura and EM-2), each with two finish and hardware or pickup options. All eight models share a D-profile satin-finished neck with “blade” fretboard inlays, knurled metal knobs with pearl inlays, Epiphone’s patent-applied-for straplocks and binding surrounding the body, headstock and fretboard. The Les Paul and SG Prophecy guitars are available in two varieties: EX, with EMG-81 and -85 pickups, black hardware and a transparent Midnight Ebony finish; and GX, with Gibson Dirty Fingers humbuckers, gold hardware and a transparent Black Cherry Finish. All Les Paul and SG models have ebony fingerboards.

The Futura models, which have the distinctive, angular body shape of Gibson’s original Fifties predecessor to the Explorer, offer a different feature set. Both models include EMG 81/85 pickups and rosewood fingerboards, but the FX version has a Midnight Ebony finish and a locking Floyd Rose tremolo system while the EX has a Black Cherry finish and a LockTone Tune-O-Matic stop tailpiece.

The EM-2 models resemble Gibson’s short-lived M-III and M-IV models from the early Nineties but without the reverse headstocks. Deviating from the design features of the other six models, the EM-2s have 25 1/2–inch scales, maple bolt-on necks, poplar bodies and EpiActive pickups. The EM-2 EX has a blue Midnight Sapphire finish, Tune-O-Matic bridge and string-through-body design, while the EM-2 FX boasts a Floyd Rose trem and Midnight Ebony finish.

The Les Paul and SG GX models feature a push/pull volume control that lets you split the Dirty Fingers pickups’ coils to produce single-coil tones. The EpiActive pickups on both EM-2 models operate in either active or passive modes by engaging the push/pull volume control. The EM-2, Les Paul and SG models have master volume and master tone controls, while the Futura offers individual volume controls for each pickup plus master tone.

PERFORMANCE

No matter which Prophecy model you choose, you get the same smooth-playing fast action on every guitar. The jumbo frets are expertly filed down to a low, almost flat profile that creates a “fretless wonder” feel, while it provides plenty of metal to keep your tone true as you bend notes. The neck’s D-shaped profile is wide, flat and shaped to deliver the ideal balance of speed, comfort and tone. The satin finish feels smooth, but not slick, and helps you keep your fretting hand anchored where you want it. If you’re considering a Floyd Rose-equipped model, note that the tremolo is flush mounted Van Halen-style (i.e. nonfloating), so while you can dive bomb, you can’t pull up on the bar.

In my testing, the weight of each model varied rather significantly, so I suggest you try before you buy. Even with the quilted maple tops, the SG models had the comfortable, light feel of a vintage Sixties SG, and the Les Paul models had the “just right” weight you’d expect for a new Les Paul. However, the Floyd-equipped Futura FX felt significantly heavier than my almost featherweight stop-tailpiece Futura EX example. I noticed a similar but not as drastic weight difference between the EM-2 FX and EM-2 EX.

When it comes to killer pickup tone, the Prophecy models offer players a buyer’s market. The EMG-81 bridge and -85 neck pickups deliver exceptional definition and dynamic range that’s perfect for most modern metal styles. The Dirty Fingers humbuckers deliver classic Gibson humbucking tone with fat midrange and hotter output that overdrives amps at lower volume levels. The EpiActive pickups sound remarkably clear with distortion and put out smooth, glassy clean tones. The passive setting produces similar tone with slightly mellower output, but it’s a godsend that will let you finish your set should your batteries die in the middle of a gig.

THE BOTTOM LINE

Epiphone's Prophecy guitars compare favorably with guitars costing two, three and even four times as much. They offer such incredible value that they’ll make you forget the recession. In fact, most of these models sell for street prices that will leave you with change from your economic-stimulus check.

Wednesday, January 07, 2009

Joe Satriani's Profile


Origin: Westbury, Long Island, NY

Decades: 1980's, 1990's, and 2000's

Along with teaching some of the top rock guitar players of the '80s and '90s, Joe Satriani is one of the most technically accomplished and widely respected guitarists to emerge in recent times. Born on July 15, 1956, in Westbury, NY, and raised in the nearby town of Carle Place, Satriani -- inspired by guitar legend Jimi Hendrix -- picked up the guitar at the age of 14 (although he was initially more interested in the drums). Quickly learning the instrument, Satriani began teaching guitar to others and found a kindred spirit in one of his students, Steve Vai. By the late '70s, however, Satriani had relocated to Berkeley, CA. With his sights set on his own musical career, "Satch" kept teaching others, including such future rock notables as Kirk Hammett (Metallica), Larry LaLonde (Primus), David Bryson (Counting Crows), and jazz fusion player Charlie Hunter.

In the early '80s, Satriani got a gig playing guitar with power popster Greg Kihn, doing some session work and touring with the group (an archival release recorded around this time, King Biscuit Flower Hour, was later issued in 1996), and issuing his own solo self-titled EP in 1984, financing and releasing the project entirely on his own. But when Vai hit the big time as the guitarist of David Lee Roth's solo band in 1986, he offered praise for his good friend and former teacher in several major guitar publications, leading to widespread interest in Satriani's playing. The timing couldn't have been more perfect for Satch, as he'd just issued his first full-length solo album, Not of This Earth, which automatically made ripples in the rock guitar community.

But the best was still to come, in the form of his sophomore release, 1987's Surfing with the Alien. Almost overnight, Satriani was widely regarded as one of rock's top guitarists, as the album earned gold certification and the guitarist would finish at the top of guitar magazine polls for years afterward. He was even handpicked by Mick Jagger to accompany the famous singer on a tour of Australia and Japan around this time. A stopgap EP, Dreaming #11, combed both studio and live tracks and was issued a year later, and in 1989, Satriani issued his third solo full-length, Flying in a Blue Dream. Another sizeable hit, the album also marked Satch's debut as a vocalist on several tracks. His career received another big push the same year when his song "One Big Rush" was included on the soundtrack to Cameron Crowe's hit movie Say Anything.

The '90s began with Satriani creating his own line of guitars for the Ibanez company (the JS Joe Satriani model), but it wasn't until 1992 that he would issue his next solo release, The Extremist. The double-disc set Time Machine followed a year later (a combination of new tracks, live material, and the long out-of-print Joe Satriani EP from 1984), and in 1994, Satch filled in on tour for the departed Ritchie Blackmore for heavy metal pioneers Deep Purple. Although he was asked to become a full-time member, Satriani turned down the offer to return to his solo career.

Satriani issued two more solo albums during the '90s -- 1995's self-titled release and 1998's Crystal Planet -- and also started the G3 guitar showcase tour with Vai in 1996, becoming an annual event and issuing a live document of the tour's initial run, G3: Live in Concert, a year later. 2000 saw Satriani issue his most musically daring release yet, the electronic-based Engines of Creation, and a year later, Live in San Francisco. Engines was nominated for a Grammy the next year, and after a successful tour he stepped back into the studio. The result, Strange Beautiful Music, was released in 2002. Electric Joe Satriani: An Anthology arrived in 2003, followed by Is There Love in Space? in 2004, Super Colossal in 2005, and Satriani Live! in 2006. In addition to his own albums, Satriani has guested on several other artists' albums over the years, including Blue

Tuesday, January 06, 2009

A Message from My Friend...

This is a message sent by my friend who are new in playing guitar:
"Sure, I'm newby in playing guitar. I have just learn to play guitar next month, by borrowing to my friend. But now I wanna get a new guitar myself, so I can learn it everytime. Can anyone recommend me a guitar type which match to me? I like pop song, not too rocking.
Please help me."
Can anyone help him?

Monday, January 05, 2009

You're Beautiful - James Blunt

intro
=====
G G/F# Em7 Cadd9 x2

verse 1
=======
G G/F# Em7 Cadd9
My life is brilliant.
G
My life is brilliant.
G/F#
My love is pure.
Em7
I saw an angel.
Cadd9
Of that I’m sure.
G
She smiled at me on the subway.
G/F#
She was with another man.
Em7
But I won’t lose no sleep on that,
Cadd9 D/F#
‘Cause I’ve got a plan.

chorus
======
Cadd9 D/F# Em7 D/F#
You’re beautiful. You’re beautiful.
Cadd9 D/F# G
You’re beautiful, it’s true.
Cadd9 D/F# G D/F# Em7
I saw your face in a crowded place,
Cadd9 D/F# Em7
And I don’t know what to do.
Cadd9 D/F# G G/F# Em7 Cadd9
‘Cause I’ll never be with you.

verse 2
=======
G
Yeah, she caught my eye,
G/F#
As we walked on by.
Em7
She could see from my face that I was,
Cadd9
Fucking high,
G G/F#
And I don’t think that I’ll see her again,
Em7 Cadd9
But we shared a moment that will last till the end.

chorus
======
Cadd9 D/F# Em7 D/F#
You’re beautiful. You’re beautiful.
Cadd9 D/F# G
You’re beautiful, it’s true.
Cadd9 D/F# G D/F# Em7
I saw your face in a crowded place,
Cadd9 D/F# Em7
And I don’t know what to do.
Cadd9 D/F# G
‘Cause I’ll never be with you.

interlude
=========
Cadd9 Em7 Cadd9 D/F# Cadd9–>D/F# (half timming)
La la la la, la la la la, la la la la, la

outro
=====
Cadd9 D/F# Em7 D/F#
You’re beautiful. You’re beautiful.
Cadd9 D/F# G
You’re beautiful, it’s true.
Cadd9 D/F# G D/F# Em7
There must be an angel with a smile on her face,
Cadd9 D/F# G D/F# Em7
When she thought up that I should be with you.
Cadd9 D/F# Em7
But it’s time to face the truth,
Cadd9 D/F# G
I will never be with you.

Nothings Gonna Change My Love For You - George Benson

Intro:/D/G/A/F#/Em/E/G/A/D/

D A Bm F#m
G D
If I had to love my life without you near me The days would all be empty
Em A D
Bm
The nights would seem so long With you I see forever oh so clearly
F#m G D Em A
I might have been in love before But it never felt this strong
G F#m
G
Our dreams are young and we both know They’ll take us where we want to go
Em D G A
Hold me now touch me now I don’t want to live without you

Chorus:
D (D#) G (G#)
Nothing’s gonna change my love for you
A (A#) F# (G) Bm (Cm)
You oughta know by now how much I love you
E (F) G (G) A (A#)
One thing you can be sure of I’ll never ask for more than your love

D (D#) G (G#)
Nothing’s gonna change my love for you
A (A#) F# (G) Bm (Cm)
You oughta know by now how much I love you

E (F)
The world may change my whole life through
G (G#) A (A#) D (D#)
But nothing’s gonna change my love for you

D A Bm F#m D
If the road ahead is not so easy Our love will lead the way for us
Em A D A Bm
Like a guiding star I’ll be there for you if you should need me
F#m G D Em A
You don’t have to change a thing I love you just the way you are
G F#m D G
So come with me and share the view I’ll help you see forever too
Em D G A
Hold me now touch me now I don’t want to live without you

(Repeat chorus)
(Repeat chorus stanza 1-3 & use the higher chords)

Instrumental:
(Use chorus chords)

(Repeat chorus stanza 1-3 then 1-4 until fading)

We Are The Champions - Queen

Cm Gm7/C

I ve paid my dues
Cm Gm7/C
And time after time
Cm Gm7/C
I ve done my sentence
Cm Gm7/C
But commited no crime
Eb Ab
And bad mistakes
Eb Ab
I ve made a few
Eb Bb/D Cm
I ve had my share of sand kicked in my face
F7 Bb C
But I ve come through

F Am Dm Bb C
We are the champions, my friend
F Am Bb D/F#
And we ll keep on fighting till the end
Gm Bbm Bbo
We are the champions, we are the champions
F Eb/G Ab6 Bb7 Cm7
No time for loosers cause we are the champions
( Fm7 Gm7/C )
Of the world

Cm Gm7/C
I ve taken my bows
Cm Gm7/C
And my curtain calls
Cm
You brought me fame and fortune
Gm7/C
And everything that goes with it
Cm Gm7/C
I thank you all
Eb Ab
But it s been no bed of roses
Eb Ab
No pleasure cruise
Eb
I consider it a challenge
Bb/D Cm
Before the whole human race
F7 Bb C
And I ain t gonna lose

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