In addition to the demonstration MP3s, the DVD-ROM contains our exclusive TNT 2 software for practice—you can slow down the MP3 audio, loop sections, change keys, and more.

For installation, follow the MP3 instructions at left to explore the disc and double-click on the installer file. Installation may take up to 15 minutes.

The included DVD-ROM contains MP3s that demonstrate how each riff should sound. To access these recordings, insert the DVD-ROM into a computer, navigate to Computer or My Computer, right-click on the disc drive icon, and select Open or Explore. (Mac users can simply double-click the disc icon that appears on the desktop.) The MP3s are located in the “MP3s” folder.

GREATEST ROCK GUITAR

65 Essential Rif fs from Legendary Songs

Produced byAlfred Music P.O. Box 10003 Van Nuys, CA 91410-0003alfred.com

Printed in USA.

For all works contained herein: Unauthorized copying, arranging, adapting, recording, or public performance is an infringement of copyright. Infringers are liable under the law.

ISBN-10: 1-4706-2342-0 (Book & DVD-ROM)ISBN-13: 978-1-4706-2342-5 (Book & DVD-ROM)

RecordingsGuitars: Guillermo Gonzalez, Dan Begelman, Aaron Stang, and Jack Allen

Windows7, Vista, XPQuickTime 7 or higher 1.8 GHz processor or faster1.4 GB hard drive space, 2 GB RAM minimumDVD drive for installation Speakers or headphonesInternet access required for updates

MacintoshOS 10.4 and higher (Intel only)QuickTime 7 or higher 1.4 GB hard drive space, 2 GB RAM minimumDVD drive for installation Speakers or headphonesInternet access required for updates

TNT 2 SYSTEM REQUIREMENTS

2

A R T I S T I N D E X

AC/DCBack in Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

ARGENTHold Your Head Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

AVERAGE WHITE BANDPick Up the Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

THE BEATLESFrom Me to You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42She Loves You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

BLACK SABBATHParanoid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

CAKEShort Skirt / Long Jacket . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

CHICAGO25 or 6 to 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Beginnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

CREEDWhat If . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89With Arms Wide Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

SHERYL CROWIf It Makes You Happy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

THE EASYBEATSFriday on My Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

FINGER ELEVENOne Thing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Paralyzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

FLEETWOOD MACThe Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

PETER FRAMPTONDo You Feel Like We Do . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

NORMAN GREENBAUMSpirit in the Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

GLEN HANSARD AND MARKÉTA IRGLOVÁFalling Slowly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

THE JIMI HENDRIX EXPERIENCEAll Along the Watchtower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

JOHN BARRY ORCHESTRAJames Bond Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

JOHNNY KIDD & THE PIRATESShakin’ All Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

RICKIE LEE JONESChuck E’s in Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

JOURNEYDon’t Stop Believin’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

KID ROCKBawitdaba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

THE KINKSLola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

LED ZEPPELINBabe I’m Gonna Leave You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Black Dog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Bron-Yr-Aur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Kashmir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Moby Dick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Over the Hills and Far Away . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Ramble On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Stairway to Heaven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84The Wanton Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88Whole Lotta Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

PAUL MCCARTNEY & WINGSLive and Let Die . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

JONI MITCHELLBig Yellow Taxi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

THE MOODY BLUESThe Story in Your Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

MOTÖRHEADAce of Spades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

PAPA ROACHLast Resort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

BOBBY PARKERWatch Your Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

PEOPLE IN PLANESIf You Talk Too Much (My Head Will Explode) . . . . . . . 48

PINK FLOYDMoney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

THE ROLLING STONESBrown Sugar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21Can’t You Hear Me Knocking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Jumpin’ Jack Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Paint It, Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64(I Can’t Get No) Satisfaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6You Can’t Always Get What You Want . . . . . . . . . . . . . . . . 95

RUSHCloser to the Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Far Cry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Limelight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54The Spirit of Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

BILLY SQUIEREverybody Wants You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

THE STANDELLSDirty Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

THE SURFARISWipe Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

T. REX20th Century Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

JAMES TAYLORCopperline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

GEORGE THOROGOOD & THE DESTROYERSBad to the Bone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

TOTOHold the Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

THE WHOPinball Wizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70The Seeker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

WILD CHERRYPlay That Funky Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

MASON WILLIAMSClassical Gas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

4

20th CENTURY BOY by T. REX

Words and Music by MARC BOLAN

© 1973 (Renewed) SPIRIT ONE MUSIC (BMI) o/b/o SPIRIT SERVICES HOLDINGS, S.à.r.l. International Copyright Secured

All Rights Reserved

5

Already an underground institution in his English homeland, T. Rex (led by Mark Bolan, née Mark Feld) roared onto the U.S. scene in 1971 with a hit almost as massive as its flamboyant creator’s persona—“Bang a Gong (Get It On).” Two years later, the British prince of glam boogie scored again with “20th Century Boy” which has enjoyed a much longer life than its creator thanks to its repeated use in commercials and movies.

Bolan was known for playing a variety of guitars but mostly the Gibson Les Paul Custom and Flying V. His amp of choice was a British valve amp made by a short-lived compa-ny called Vampower. These amps featured a unique “Bite” distortion control that contributed to his heavy signature sound, but you can get very close using a modern distortion pedal.

Note the ambiguity of where the downbeat is on this riff. You have no real sense of where the “one” is until the drums settle into a backbeat at measure 7. The verse is simply a four-bar A boogie pattern (alternating between the 5th and 6th of the chord) followed by the intro riff.

6

Consistently voted as “the greatest guitar riff of all time,” Keith Richards groggily sang this melodic fragment into an early cassette recorder one morning just before falling asleep in a Clearwater, Florida motel. The fuzz-drenched three notes that kick off “(I Can’t Get No) Satisfaction” can legitimately be called the fountainhead of all subsequent rock guitar riffs. Ironically, the guitar riff heard on the record was only intended as a guide for what Richards intended to be a saxophone part, but The Rolling Stones’ record company rush-released the song before the horns could be added.

(I CAN’T GET NO) SATISFACTION by THE ROLLING STONES

Words and Music byMICK JAGGER and KEITH RICHARDS

© 1965 (Renewed) ABKCO MUSIC, INC., 85 Fifth Avenue, New York, NY 10003All Rights Reserved

7

25 OR 6 TO 4 by CHICAGO Words and Music by

ROBERT LAMM

© 1970 (Renewed) SPIRIT CATALOG HOLDINGS, S.à.r.l. and LAMMINATIONS MUSIC US, UK and Canadian Rights for SPIRIT CATALOGUE HOLDINGS, S.à.r.l. Controlled and Administered by SPIRIT TWO MUSIC, INC.

Rights for the Rest of World are Controlled and Administered by SPIRIT SERVICES HOLDINGS, S.à.r.l. on behalf of SPIRIT CATALOGUE HOLDINGS, S.à.r.l. All Rights Reserved

The title of Chicago’s second Top 10 single, “25 or 6 to 4,” refers to the pre-dawn time (25 or 26 minutes to 4 a.m. ) when keyboardist/guitarist/songwriter Robert Lamm was writing a song about the songwriting process.

The guitar player on this track was the late, great Terry Kath. Terry was a big man with a big voice and an aggressive playing style. We suggest you attack this riff with all downstrokes.