The Guitar Wing provides an expressive, MIDI control surface designed for guitar and bass players. It easily attaches to any electric guitar or bass and communicates wirelessly to your computer or USB-MIDI host. With pressure-sensitive pads, function buttons, touch faders, and even motion control, the Guitar Wing will allow you a myriad ways to customize and control your sound. Yeah, you read that right: motion control. You will now be able to shake your guitar and have those shakes translate into MIDI data. Use the Guitar Wing with the bundled effects plug-in, WingFX, or dive into the vast world of software, controlling programs like Logic, Garage Band, Ableton Live, Guitar Rig, Reason, and many others. The Guitar Wing can also be used to control MIDI hardware like Axe-FX or Eventide pedals, using your computer and MIDI interface or a USB-MIDI host. And then you can rock out like the axe-master you are!

Product Specifications  

A wireless, MIDI control surface exclusively designed for guitar and bass players

Using the included WingFX effects plugin, you can instantly access and control digital effects at your fingertips. Use it as a standalone application, or as a plug-in for favorite DAW or recording software.

As a class compliant MIDI device it instantly works with your favorite DAW, iOS device, MIDI hardware and more without drivers or complicated setups.

Features: 

5 pressure sensitive pads with velocity and aftertouch

6 function buttons

4 side switches

3 LED touch faders

3D motion sensor (accelerometer)

Adjustable, non-scratch guitar clamp

Batteries: Built-in rechargeable 

Battery life: up to 8 hours

2014 Popular Science Invention Award winner

Fits most guitars and basses ranging from 1.25" (30mm) to 1.75" (45mm) 

Includes: Guitar Wing, USB receiver, charging cable, safety strap, thickness adapter, spacer pack, quick start guide

Dimensions: approx. 3.5" x 6.8" x 0.5" (not including guitar clamp)

Weight: approx. 6.4 oz

The Moog Werkstatt is a patchable and compact, one oscillator analog synthesizer. It was originally created as a kit, to be the foundation for exclusive "Engineering VIP" workshops at Moogfest 2014. But because the public demanded more, Moog built a no-soldering-required version! Assembly is extremely simple (you just need a screwdriver). Any user can quickly build an analog synthesizer based on classic Moog circuits, and if desired, study the analog circuits. Plus, it comes with header patch cables, so you can route the control signals any way you want. Through assembly and inspired investigation, the Moog Werkstatt is an excellent platform for exploring the world of analog synthesizer circuits. A lifetime of experimentation, knob twisting, and sound design awaits.

Product Specifications  

The Moog Werkstatt is an easy-to-assemble DIY patchable and compact, one oscillator analog synthesizer

No soldering required - just a little screwing parts together

Features: 

Oscillator Section

Single VCO w/ frequency control (8Hz to 16KHz)

Saw and square waveshapes w/ control for square pulse width

Envelope or LFO selectable Mod Source that can be assigned to PWM or Pitch w/ Amount control

Ability to PWM the square wave

Filter Section

Classic 4-Pole Moog Ladder Filter w/ Resonance control (20Hz-20KHz)

Select between the Envelope generator and LFO as Mod Source.

Polarity switch (+/-) and amount  knob for control of filter cutoff modulation

LFO Section

Selectable Square or Triangle waveshape w/ rate control (2Hz-600Hz)

VCA/AMP Section

Select between the Envelope Generator or ON (Drone)

Envelopes Section

Controls for Attack & Decay time w/ Sustain On/Off switch

KB Section

One octave low-note priority legato keyboard w/ glide control

Patchable Header

VCA Input 0V to +5V in VCA EG Mode, +/-2.5V in VCA ON Mode

VCF Input -5V to +5

VCO LINEAR FM Input +/-2.5V - NOTE: this is an inverting control input

VCO EXPONENTIAL FM Input -5V to +5V, 1V/Octave trimmable

LFO CV Input 5V to +5V – NOTE: Negative CV slows LFO more than the panel

VCF AUDIO Input Unbuffered/Unmixed AC coupled input to VCF

2x KB CV Output 3V/semitone from 1 keyboard - NOTE: Attenuate for 1V/Octave

2x TRIG Output 5 msec pulse, 0 to +5 V signal generated from low-note priority

2x GATE Output 0 to +5V signal generated from low-note priority

2x EG Output 0 to +5V signal, Simple ASD or AD type Envelope Generator

2x LFO Output -2.5 to +2.5V Triangle or Square wave, selected via LFO Switch

2x VCF Output-2V to +2 V signal for audio or CV uses

2x VCO Output 0V to +5V VCO signal, wave selected by VCO Wave Switch

Rear Panel

AUDIO Output Nominal +/-1.5V Signal

POWER +12VDC Center Positive w/ 1.2A Wall transformer

POWER CONSUMPTION 1.8 Watt AVG

Includes: Werkstatt-Ø1 kit, 5 colored patch cables, AC adapter

Dimensions: 8.5" x 5.25" x 1.25"

Because when they get dusty and full of crime, the needle gets angry. And when the needle gets angry, your record player gets distraught. And when your record player gets distraught, it plots against you. Also, your records won't sound good. But how do you clean a record? It's easy if your have a Crosley Vinyl Cleaner!

With the Crosley Vinyl Cleaner, cleaning your records has never been easier. This self-contained record cleaning system features Crosley’s own Vinyl Shine record cleaning solution and two adjustable rollers to clean all of your favorite 33 1/3, 45, and 78 RPM records. The double-sided microfiber brush system applies the perfect amount of pressure to delicately remove unwanted dirt and grime from both sides of your vinyl simultaneously. Use the microfiber drying clothes to polish records to a dustless shine after cleaning. In a few simple minutes, you will add years back to any record collection - all thanks to the Crosley Vinyl Cleaner!

Product Specifications  

Keep your records in tip top shape with this record cleaner

ABS Construction

Self-contained, vinyl record cleaning system

Adjustable roller system accommodates 33 1/3, 45, and 78 RPM records

Microfiber brush system cleans both sides of record simultaneously

Includes cleaning fluid concentrate (enough to clean several hundred records)

Fitted lid to preserve prepared cleaning solution between washings

Microfiber drying clothes polish records to a dustless shine after cleaning

 I major thriad chord progression on key C. This is not essential, you can use different, but there is same idea on every chord progression that hope you figure out soon.

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

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

------------------------5-5-5-5-

2-2-2-2-5-5-5-5-7-7-7-7-5-5-5-5-

2-2-2-2-5-5-5-5-7-7-7-7-3-3-3-3-

0-0-0-0-3-3-3-3-5-5-5-5---------

now this is like an verse of our rhytm guitar from that long haired heavy metal freak on the back. and its E5, E5, E5, G5, G5, G5, G5, A5, A5, A5, A5 and C5, C5, C5, C5 So lets get to the business and start to think our beginner riff for it? Oh yeah.

Thing is, that you can use all those notes that you see on tab above on current chord to riffs. Also we have other choice, you can use scales to make more complex riffs. But lets check first what we get when use those notes above.

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

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

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

----------------------------5---

----2-------5-------7---3-3---3-

0-0---0-3-3---3-5-5---5--------

Use alternate picking if you want to play fast, its the only way, start slow improve accuracy and speed over time. Playing fast riffs, require very systematic and patient training.

I think you can find out that those notes should be played along the rhythm? Hehe just kidding, but keep that in mind and use your improvisation and you will make many different sounding riffs even from above one.

Alright, lets take something more and we take pentatonic scale to help our mission to make uber cool riff. Now you can use little trick, and check using guitar chord tool and check how each chord from chord progression tool show up. And now we talk about minor and major things here. 

We use trick that we do same as above, but add a little. Look first tab and check those power chords there. When we add one more note to those power chords as you can see on chord name tool, they change to minor, major, sus, dim, aug depends what note we add. For example E5 we add open G string it turns E minor.

Allright, now we use those notes to conform the chord progression we see on chord progression tool. It says,

C Dm Em F G Am Bdim 

as we used chord progression iii, V, vi, I its Em, G, Am, C we add the first G note to our E5 riff part. I used 1th string 3rd fret instead of open G. Next our chord progression turn to G5 and we start to get on flying. Again experiment with chord name tool and make there G major adding one note to G5 shown on first tab. Go ahead and let that B note vibrato a bit :D. 

Next part we are goin to A5 part of the riff. Experiment with chord name tool again ^_^. Oh well, we added even one note for it make it scream eh? :D.

And now we are in our last part of our riff and lets do something to get athmosphere up in the crowd and lets take just that note to make it C major and let it scream with vibrato to give us some kicks. But lets take that note little higher octave.

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

----------------------5--13~~~~~

--------------4-------5---------

------------5-------------------

----2---5-5---------7-----------

0-0---3---------5-5------------

Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music.

Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonace, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production. A person working in music theory is a music theorist. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used.

The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts. For example, ancient instruments from Mesopotamia, China, and prehistoric sites around the world reveal details about the music they produced and, potentially, something of the musical theory that might have been used by their makers (see History of music and Musical instrument). In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia, Pharoanic Egypt, and ancient China have also considered music theory in more formal ways such as written treatises and music notation.Pitch is the lowness or highness of a tone, for example the difference between middle C and a higher C. The frequency of the sound waves producing a pitch can be measured precisely, but the perception of pitch is more complex because we rarely hear a single frequency or pure pitch. In music, tones, even those sounded by solo instruments or voices, are usually a complex combination of frequencies, and therefore a mix of pitches. Accordingly, theorists often describe pitch as a subjective sensation.

Most people appear to possess relative pitch, which means they perceive each note relative to some reference pitch, or as some interval from the previous pitch. Significantly fewer people demonstrate absolute pitch (or perfect pitch), the ability to identify pitches without comparison to another pitch. Human perception of pitch can be comprehensively fooled to create auditory illusions. Despite these perceptual oddities, perceived pitch is nearly always closely connected with the fundamental frequency of a note, with a lesser connection to sound pressure level, harmonic content (complexity) of the sound, and to the immediately preceding history of notes heard. In general, the higher the frequency of vibration, the higher the perceived pitch. The lower the frequency, the lower the pitch. However, even for tones of equal intensity, perceived pitch and measured frequency do not stand in a simple linear relationship.

Intensity (loudness) can change perception of pitch. Below about 1000 Hz, perceived pitch gets lower as intensity increases. Between 1000 and 2000 Hz, pitch remains fairly constant. Above 2000 Hz, pitch rises with intensity. This is due to the ear's natural sensitivity to higher pitched sound, as well as the ear's particular sensitivity to sound around the 2000–5000 Hz interval, the frequency range most of the human voice occupies.

The difference in frequency between two pitches is called an interval. The most basic interval is the unison, which is simply two notes of the same pitch, followed by the slightly more complex octave: pitches that are either double or half the frequency of the other. The unique characteristics of octaves gave rise to the concept of what is called pitch class, an important aspect of music theory. Pitches of the same letter name that occur in different octaves may be grouped into a single "class" by ignoring the difference in octave. For example, a high C and a low C are members of the same pitch class—the class that contains all C's. The concept of pitch class greatly aids aspects of analysis and composition.

Although pitch can be identified by specific frequency, the letter names assigned to pitches are somewhat arbitrary. For example, today most orchestras assign Concert A (the A above middle C on the piano) to the specific frequency of 440 Hz, rather than, for instance, 435HZ as it was in France in 1859. In England, that A varied between 439 and 452. These differences can have a noticeable effect on the timbre of instruments and other phenomena. Many cultures do not attempt to standardize pitch, often considering that it should be allowed to vary depending on genre, style, mood, etc. In historically informed performance of older music, tuning is often set to match the tuning used in the period when it was written. A frequency of 440 Hz was recommended as the standard pitch for Concert A in 1939, and in 1955 the International Organization for Standardization affirmed the choice. A440 is now widely, though not exclusively, the standard for music around the world.

Pitch is also an important consideration in tuning systems, or temperament, used to determine the intervallic distance between tones, as within a scale. Tuning systems vary widely within and between world cultures. In Western culture, there have long been several competing tuning systems, all with different qualities. Internationally, the system known as equal temperament is most commonly used today because it is considered the most satisfactory compromise that allows instruments of fixed tuning (e.g. the piano) to sound acceptably in tune in all keys.

The Harmonic Minor Scale

Good guitarists have a vast repetoire of harmonic material to draw from. Even in the pop, rock, and blues genres, where pentatonic and blues scales make up the bulk of scales used in improvising, there are times when those scales don't provide the correct color for particular situations. Nor does a 'typical' minor scale, like the natural minor (also known as aeolian). These are times when a guitarist might look to a more exotic sounding scale, like the harmonic minor.

THE NOTES:

The above example illustrates a C harmonic minor scale, constrasted against both the major and natural minor scales. Notice the harmonic minor scale differs from the natural minor scale in just one note; the raised seventh. This note contains the strongest color in the scale, in that it carries a certain degree of tension, and should be used with this knowledge in mind. Hanging onto the seventh degree of the scale, then resolving it up a semi-tone to the root is a nice way to create a tension-release scenario when improvising. The flattened third and sixth note of the harmonic minor scale would generally prevent it from being used against major chords with the same root note in an improvising situation (for example, a C harmonic minor scale would not normally be used against a C major chord).

THE SCALE:

When playing the scale, make sure to do all stretching with the pinky (4th) finger in your left hand. Notes normally played with the pinky should still be played with the pinky (do not stretch with your 3rd finger on the first and sixth strings to play the notes your pinky would normally play - there's no logical reason to do this.) Care should be taken to play the scale accurately and slowly, using alternate picking, until it can be played with reasonable precision. Only then should the scale be attempted at a slightly faster tempo. Using a metronome is, as always, the beneficial way of practising scales such as this.

Root notes of the scale are marked in red, and the last two notes are bracketed to illustrate that the scale is, at this point, extending beyond two octaves.

This illustration is just a jumping-off point for learning the harmonic minor scale. Once comfortable with the sound of the scale, guitarists should teach themselves to play the scale all over the fretboard in different positions, up one string, etc. either by using their ear to figure out the correct notes, or by following the scale steps illustrated above and below.

DIATONIC CHORDS OF:

Like the major scale, we can derive a series of chords out of each of the seven notes in the harmonic minor scale, by stacking each note with notes from the scale a diatonic third and fifth above it. Although the end process may not yield a set of chords as user-friendly as those derived from the major scale, they are nonetheless important to know and understand. Using the above illustration, for example, we can see if a progression moves from Vmaj to Imin, the harmonic minor scale would be an appropriate choice.

The harmonic minor scale can also be "forced" over a static chord progression that does not initially seem receptive to the harmonic minor sound. For example, a tune in the key of A minor, that vamps on Amin for a long time, can often be a good situation to use the harmonic minor scale. It will often create a sound that could be considered exotic, or unusual, so be prepared for this.

The harmonic minor is just one of many scales that can be used to provide different color to minor chords (others include melodic minor, phrygian, dorian, etc.) For every minute spent practising the scale itself, guitarists should spend another minute listening to each note of the scale against a repeatedly strummed minor chord (record a rhythm track of yourself playing), paying attention to the specific color each note gives, and where it wants to resolve to. Also, listen for the use of the harmonic minor scale by your favorite guitarist. Be able to sing the scale without having to think about it. Practise moving from a minor pentatonic into a harmonic minor scale, and back again. Learning a scale goes far beyond memorizing the shape on the neck of the guitar; it involves internalizing the sound of the scale itself.

Minor Pentatonic Scales

A pentatonic scale is a scale that contains only five notes, and are quite popular in western music.

You could say they derive from major or minor scales. If you have a major (or minor) scale that have seven notes, and take out two notes, you'll get a five-note scale.

Let's take a look at minor pentatonics:

Let's say we have the A minor (aeolyan) scale, which is: A - B - C - D - E - F - G.

E|--------------------------------------------------------------7---8--10--|

B|--------------------------------------------------6--8--10---------------|

G|--------------------------------------5--7--9----------------------------|

D|-------------------------5---7---9---------------------------------------|

A|---------------5---7--8--------------------------------------------------|

e|--5----7---8-------------------------------------------------------------|

If we take out the second and sixth notes, we get:

A - C - D - E - G, which happens to be the A minor pentatonic scale.

E|-------------------------------------------------------5-----8-----------|

B|---------------------------------------------5----8----------------------|

G|----------------------------------5----7---------------------------------|

D|-----------------------5----7--------------------------------------------|

A|------------5----7-------------------------------------------------------|

e|--5----8-----------------------------------------------------------------|

Go up and down A minor scale, and then move on to A minor pentatonic scale? Hear the difference? 

As an exercice, play both A minor and A minor pentatonic scale across the fretboard (you already know the notes!)

Once you've done this, let's move forwards.

Da blue note: this is nothing more than the flattened fifth degree. Play now A minor pentatonic scale, but add bE now (Let's not say d#, so as not to repeat note's names. A minor pentatonic with the bluw note added - or 'A Blue Scale' - is: A - C - D - Eb - E - G).

E|---------------------------------------------------------5-----8-----------|

B|-----------------------------------------------5----8----------------------|

G|----------------------------------5----7---8-------------------------------|

D|------------------------5----7---------------------------------------------|

A|------------5---6---7------------------------------------------------------|

e|--5----8-------------------------------------------------------------------|

 Improvise blues.

I want you to take your time and listen to great bluesman guitar players, like B.B. King and Stevie Ray Vaughan. Blues is all about playing very brief but emotional-filled phrases, and then stop. It's about playing and stops. Say what you have to say and shut up. Silence is a key part in a blues motive.

I highly recommend to record yourself playing a twelve-bar blues progressions. Blues progressions are basically made from seventh chords in a shuffle feel: I7 - IV7 - V7 is an easy sequence. I'm sorry, but you are on your own here, I'm going to supose you know what a twelve-bar blues progression, since you can find examples without any difficulty on the web.

Above your recordings, play this licks and use them on your improvisations.

Pattern n1

E|------------------------------------|

B|---------------------5-------5------|

G|-----------5----7b9----7b9----------|

D|------7-----------------------------|

A|------------------------------------|

e|------------------------------------|

Pattern n2

E|--8---5--------8---------------------------------------------------------|

B|----------8--------8-----5--------8-----5--------5-----------------------|

G|--------------------------------------------7---------7-----5------------|

D|-----------------------------------------------------------------7h5h7---|

A|-------------------------------------------------------------------------|

e|-------------------------------------------------------------------------|

Pattern n9

E|--8-----------------8------------------|

B|--------8h5---------------8h5----------|

G|-------------7b8----------------7b8----|

D|---------------------------------------|

A|---------------------------------------|

e|---------------------------------------|

B.B. king uses this minor 'little scale' a lot (this one is in A position):

[10] is the root note here, A note.

E|-------------------------10---12-------|

B|--------------[10]--12-----------------|

G|----9---11-----------------------------|

D|---------------------------------------|

A|---------------------------------------|

e|---------------------------------------|

Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music.

Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonace, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production. A person working in music theory is a music theorist. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used.

The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts. For example, ancient instruments from Mesopotamia, China, and prehistoric sites around the world reveal details about the music they produced and, potentially, something of the musical theory that might have been used by their makers (see History of music and Musical instrument). In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia, Pharoanic Egypt, and ancient China have also considered music theory in more formal ways such as written treatises and music notation.Pitch is the lowness or highness of a tone, for example the difference between middle C and a higher C. The frequency of the sound waves producing a pitch can be measured precisely, but the perception of pitch is more complex because we rarely hear a single frequency or pure pitch. In music, tones, even those sounded by solo instruments or voices, are usually a complex combination of frequencies, and therefore a mix of pitches. Accordingly, theorists often describe pitch as a subjective sensation.

Most people appear to possess relative pitch, which means they perceive each note relative to some reference pitch, or as some interval from the previous pitch. Significantly fewer people demonstrate absolute pitch (or perfect pitch), the ability to identify pitches without comparison to another pitch. Human perception of pitch can be comprehensively fooled to create auditory illusions. Despite these perceptual oddities, perceived pitch is nearly always closely connected with the fundamental frequency of a note, with a lesser connection to sound pressure level, harmonic content (complexity) of the sound, and to the immediately preceding history of notes heard. In general, the higher the frequency of vibration, the higher the perceived pitch. The lower the frequency, the lower the pitch. However, even for tones of equal intensity, perceived pitch and measured frequency do not stand in a simple linear relationship.

Intensity (loudness) can change perception of pitch. Below about 1000 Hz, perceived pitch gets lower as intensity increases. Between 1000 and 2000 Hz, pitch remains fairly constant. Above 2000 Hz, pitch rises with intensity. This is due to the ear's natural sensitivity to higher pitched sound, as well as the ear's particular sensitivity to sound around the 2000–5000 Hz interval, the frequency range most of the human voice occupies.

The difference in frequency between two pitches is called an interval. The most basic interval is the unison, which is simply two notes of the same pitch, followed by the slightly more complex octave: pitches that are either double or half the frequency of the other. The unique characteristics of octaves gave rise to the concept of what is called pitch class, an important aspect of music theory. Pitches of the same letter name that occur in different octaves may be grouped into a single "class" by ignoring the difference in octave. For example, a high C and a low C are members of the same pitch class—the class that contains all C's. The concept of pitch class greatly aids aspects of analysis and composition.

Although pitch can be identified by specific frequency, the letter names assigned to pitches are somewhat arbitrary. For example, today most orchestras assign Concert A (the A above middle C on the piano) to the specific frequency of 440 Hz, rather than, for instance, 435HZ as it was in France in 1859. In England, that A varied between 439 and 452. These differences can have a noticeable effect on the timbre of instruments and other phenomena. Many cultures do not attempt to standardize pitch, often considering that it should be allowed to vary depending on genre, style, mood, etc. In historically informed performance of older music, tuning is often set to match the tuning used in the period when it was written. A frequency of 440 Hz was recommended as the standard pitch for Concert A in 1939, and in 1955 the International Organization for Standardization affirmed the choice. A440 is now widely, though not exclusively, the standard for music around the world.

Pitch is also an important consideration in tuning systems, or temperament, used to determine the intervallic distance between tones, as within a scale. Tuning systems vary widely within and between world cultures. In Western culture, there have long been several competing tuning systems, all with different qualities. Internationally, the system known as equal temperament is most commonly used today because it is considered the most satisfactory compromise that allows instruments of fixed tuning (e.g. the piano) to sound acceptably in tune in all keys.

Am F G Abm Ebm C#m F# B E

||: Am  F G  Am :|| Am  F G  Abm 

Abm                            Ebm  

What will you do when you get lonely 

Abm          G       A        B 

With nobody waiting by your side

C#m         F#          B               E

You´ve been running and hiding much too long, 

C#m           F#                B

You know it´s just your foolish pride.

     E 

CHORUS:

Am   F      G            Am

Layla,  you got me on my knees.  

Am    F     G               Am

Layla,  I´m begging darling please.

Am    F   G                 Am              F     G  

Layla,    darling won´t you ease my worried mind.

Abm                   Ebm     

Tried to give you consolation, 

Abm       G         A        B 

Your old man won´t let you down

C#m    F#      B                 E    

Like a fool, I fell in love with you, 

C#m        F#                 B

Turned the whole world upside down

CHORUS

Abm                          Ebm    

Let´s make the best of the situation 

Abm      G       A    B 

Before I fin´lly go insane.

C#m          F#        B            E  

Please don´t say we´ll never find a way 

C#m         F#              B

And tell me all my loves in vain

CHORUS

Am E G D F C Dm E7

Intro:

Am E G D F C Dm E – 2x times

     Am              E

On a dark desert highway

   G             D

Cool wind in my hair

  F               C

Warm smell of a colitas

 Dm                  E

Rising up through the air

    Am              E

Up a head in the distance

   G             D

I saw shimering light

      F                        C

My head grew heavy and my sight grew dim

  Dm                   E

I had to stop for the night

   Am            E  

There she stood in the door way

 G                   D

I heared the mission bell

  F              C 

And I was thinking to myself

 Dm                                E

This could be heaven and this could be hell

   Am              E

Then she lit up a candle

   G                D

And she showed me the way

 F                      C   

There were voices down the corridor

 Dm                    E

I thought I heared them say

  Chorus:

  F                   C

Welcome to the Hotel California

      E7

Such a lovely place

      Am

Such a lovely face

  F                          C

Plenty of the room at the Hotel California

    Dm

Any time of year

    E7

You can find it here

Am E G D F C Dm E – 2x times

Her mind is Tiffany twisted

She got the Mersedes Benz

She got a lot of pretty pretty boys

That she calls friends

How they dance in the courtyard

Sweet summer sweat

Some dance to remember

Some dance to forget

So I called up the Captain

Please bring me my wine He said

We haven´t had that spirit here

Since nineteen sixty nine

And still those voices are calling

From faraway

Wake up in the middle

Of the night just to hear them say

  Chorus:

Welcome to the Hotel California

Such a lovely place

Such a lovely face

They living it up at the Hotel California

What a nice surprice bring your alibis.

Am E G D F C Dm E – 2x times.

C   Dm   Am   G   F

F Dm F Dm Am Dm Am G C

(Whistling ... )

                 Dm               C                     Dm      Am G  C 

I follow the Moskva down to Gorky Park listening to the wind of change 

                 Dm                     C                   Dm      Am G

An August summer night soldiers passing by listening to the wind of change 

F  Dm F Dm Am Dm Am G C

(Whistling ... )

C                    Dm              C                         Dm          Am  G

The world is closing in did you ever think that we could be so close, like brothers 

                    Dm                     C                     Dm       Am  G

The future's in the air I can feel it everywhere blowing with the wind of change 

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night

          Dm            G             Am  F                     G

where the children of tomorrow dream away        in the wind of change 

C                Dm                 C                      Dm      Am G C

Walking down the street distant memories are buried in the past forever 

                Dm                C                     Dm      Am   G

I follow the Moskva down to Gorky Park listening to the wind of change 

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night 

          Dm            G                  Am     F              G

where the children of tomorrow share their dreams   with you and me 

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night

          Dm            G             Am  F                  G

where the children of tomorrow dream away     in the wind of change 

Am                       G                         Am

The wind of change blows straight into the face of time 

                            G                                  C

Like a storm wind that will ring the freedom bell for peace of mind 

                   Dm                           E

Let your balalaika sing what my guitar wants to say 

F G Em Am   (x3)

F E

C    G         Dm           G           C     G

Take me to the magic of the moment on a glory night 

          Dm            G                  Am     F              G

Where the children of tomorrow share their dreams   with you and me 

C    G         Dm           G           C      G

Take me to the magic of the moment on a glory night 

          Dm            G             Am  F                   G

Where the children of tomorrow dream away      in the wind of change 

F Dm F Dm Am Dm

F   Fmaj7   C   F6   Gm   Gm7   Gm6   D#7   A7   Gmaj7   G6   D   G

F   Fmaj7   C

   F

Strangers in the night exchanging glances

Fmaj7

Wond´ring in the night what were the chances 

 F6

We´d be sharing love

                        Gm

Before the night was through.

Gm

Something in your eyes was so inviting,

Gm7

Something in your smile was so exciting,

Gm6                   C

Something in my heart,

                     F

Told me I must have you.

  D#7

Strangers in the night, two lonely people

          A7

We were strangers in the night up to the moment

         Gm

When we said our first hello.

Gm7

Little did we know

Gm6               F

Love was just a glance away,

  Gm              C

A warm embracing dance away and -

F

Ever since that night we´ve been together.

Fmaj7

Lovers at first sight, in love forever.

F6                     C

It turned out so right,

                      F

For strangers in the night.

(interlude)

   Gm6               F

...love was just a glance away,

  Gm              C

A warm embracing dance away and -

G

Ever since that night we´ve been together.

Gmaj7

Lovers at first sight, in love forever.

G6                     D

It turned out so right,

                      G

For strangers in the night.

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

  C              G                Am          F

When I find myself in times of trouble Mother Mary comes to me

C                   G            F C-Dm7-C

Speaking words of wisdom, let it be

                     G            Am                   F

And in my hour of darkness she is standing right in front of me

C                   G             F  C-Dm7-C

Speaking words of wisdom, let it be

       Am         G             F        C

Let it be, let it be, let it be, let it be

                  G              F  C-Dm7-C

whisper words of wisdom, let it be

And when the broken hearted people living in the world agree

There will be an answer, let it be

For though they may be parted there is still a chance that they will see

There will be an answer, let it be

Let it be, let it be, let it be, let it be

There will be an answer, let it be

Let it be, let it be, let it be, let it be

whisper words of wisdom, let it be

| F C Dm7 C | F   C   | G F C . | F  C  | G F C . |

Instrumental verse

Let it be, let it be, let it be, let it be

whisper words of wisdom, let it be

And when the night is cloudy there is still a light that shines on me

Shine until tomorrow, let it be

I wake up to the sound of music, Mother Mary comes to me

Speaking words of wisdom, let it be

Let it be, let it be, let it be, let it be

There will be an answer, let it be

Let it be, let it be, let it be, let it be

There will be an answer, let it be

Let it be, let it be, let it be, let it be

whisper words of wisdom, let it be

| F  C  | G F C . |

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Gm  Cm  Eb  Dm  Dm7

Intr;o: 

Gm

I shot the sheriff,

Cm                      Gm

but I did not shoot the deputy.

Gm

I shot the sheriff,

Cm                      Gm

but I did not shoot the deputy.

Eb    Dm          Gm

All a round in my home town

        Eb        Dm       Gm

they´re trying to track me down.

     Eb               Dm          Gm

They say they want to bring me in guilty

        Eb           Dm     Gm

for the killing of a deputy,

        Eb           Dm7     Gm

for the killing of a deputy. 

           Gm

But I say:

I shot the sheriff,

but I swear it was in selfdefence.

I shot the sheriff,

but I swear it was in selfdefence.

Sheriff John Brown always hated me

for what I don´t know.

Ev´ry time that I plant a seed

he said "Kill it before it grow,"

he said "Kill it before it grow."

But I say:

I shot the sheriff,

but I swear it was in selfdefence.

I shot the sheriff,

but I swear it was in selfdefence.

Freedom came my way one day

and I started out of town.

All of a sudden I see sheriff John Brown,

aiming to shoot me down.

So I shot, I shot him down.

But I say:

I shot the sheriff,

but I did not shoot the deputy.

I shot the sheriff,

but I did not shoot the deputy.

Reflexes got the better of me

and what is to be must be.

Ev´ry day the bucket goes to the well,

but one day the bottom will drop out,

yes one day the bottom will drop out.

But I say:420

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.