. fi a 7 oe - ' IN THROUGH: THE OUT DOO ; . Off The RecorIN THROUGH THE OUT DOOR LED ZEPPELIN Folio © 1995 International Music Publications Limited Southend Road, Woodford Green, Essex, England IGS 8HN. Musie Transcribed by Barnes Music Engraving Ltd., East Sussex TN22 4HA Printed by Panda Press ° Haverhill: Suffolk C89 8PR Binding by ABS - Cambridge Reproducing this music in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988.IN THROUGH THE OUT DOOR LED ZEPPELIN 4 INTHE EVENING 23 SOUTH BOUND SAUREZ 53 FOOL IN THE RAIN 77 HOT DOG 102 CAROUSELAMBRA 148 ALL MY LOVE 161 I'M GONNA CRAWL Notation and Tablature Explained 176 Indications sur la notation musicale et les tablatures 179 Hinweise zu Notation und Tabulatur 182 Spiegazione della notazione e dellintavolatura 185(eens) ar? 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Dra ALL MY LOVE Words and Music by Jon Pal Jones and Robert Pare ‘ om an 6 owt 0 ‘Teesonter with bender © 1979 Flames of Aion Music Ine ‘Warner Chappell Maric Ltd London WY 364improvising ghost notes SS =150 a ‘ om ee 6 SaaS == * a= a Witkin the low tat weaes a cloak of de lip AMeremons«treadzhathas no en the tes be caus the fame 10 nevoie ir ear a-be ke ie he oe te ees wih2a in Code 182 =o my hie Via re « GSe== SS E = === ==: HE = As ay Sari, hl oly toe oo , JIT OT) MT T_T a yp = =e| Ono 1} ergSA Wi SSeS Sel e+Geni sp srr ties on? “E2 goers, re ES161 I’M GONNA CRAWL ‘Words and Music by John Paul jones, jmeny Page snd Robert Pant Am Gain Fra? GE nada om bn (0.1979 Flames of Albion Muse Ine ‘Warner Chapel Mui Les London WIY 3FA\ \ = a es —» eagteo 163 aS lee me you why, —————= 164 tw ® ry « Tt dram teommochat ish,=e a usa © ~ Gates 165 c a we that ile a= = \ « 2 sate ¢ 1 oases © oss ‘bere bby Teanbreakthe —gal- den ra Dae. Tpactobe ber foo166 am 8 an ® an a ‘ease gee down on my nee, [pray shat inetd \ \ tndidon'tknow the reson why 4 shewoaldcome hack ony stayBeyldetit evyleaetit ewrylietie ofp be Ise toyou gl ‘SSS Se SS Sn= 168¢ % Gases gc » Gates \ ¢ ~ cerry ¢ » asadaSe eepleees SPSEEE RY De es sp eT pe bach hh he —— pe SEE t HES Pee eS ee = $ rat oeeeg deeded Z ~ Eau ca12 ¢ ~ upc « ir » Sms 1 int got 2 go by cay 1 donteae just bese my dcdiag i, \ \ « “ © “ Sasa hy Fam ponent con,porte Gauss te » 173 ben eanene f£s a goo-sacee, Tdoatcace if got to-go backbome = ef tte tft fA ft P he 3 = r= Dade: pai . - —— ee =e 2 4 — ——t aL _— = —S= = i SS = = aS SS 1 SS SSS» ata_176 Notation and Tablature Explained ‘Open C chord Seale of E major = = s— Bent Notes "The note fretted is igh i) eins ZZ Wend) sie Dh srns ays shown frst. Variations in pitch achieved by string bending are enclosed ‘within this symbol “~~, Ifyou aren't sure how far to bend the string, playing the notes indicated without bending ives a guide to the pitches to aim for. The following amples cover the most ‘common string bending techniques: ‘Adgicional guiarstc tee niques have been notated as follows: Example 1 Play the D, bend up one tone (evo half-teps) to E. Example 2 the D, bend up one tone to release bend ro sound D. Only the first nove is picked. Example 3 Fast bend: Play the D, chen bend up fone tone 10 Eas quickly as possible ‘Tremolo Bar Alter pitch using temolo bar. Where possible, the pitch to aim for is shown, a) Play the G; use the bar to drop the 5 - pitch to E by Play the open G; use the bar to “divebomb’, i. drop the pitch as far as possible Hammer on and Pull off Play first note, sound next note by ‘hammering on’, the next by ‘pulling off. Only the first mote is picked. SE Ev ig Example 4 re-bend: fret che D, bend up one tone 10, then pick Example 5 Play the A and D together, then bend the B-string up one tone to sound B. Example 6 Play the D and Fé together, then bend the G-string up one tone to E, and the Bestring up a semitone 10 G. Mutes a) Right hand mute ‘Mute strings by resting the right band ‘on the strings just above the bridge. ») Left hand mute Damp the strings by releasing left hand pressure just after the notes sound, ©) Unpitched mute Damp the strings with the left hand co produce a percussive sound, Gtissando a) Play first note, sound next note by sliding up string. Only the first note is picked. ') As above, but pick second note.Natural Harmonies TTouch the string over the fret marked, and pick t0 produce a bel-like tone. The ‘small notes show the resultant pitch, where necessary, Bebender When bent notes were played with a Bebender they are notated thus. Some of these bends are possible using standard guitar, whilst others can be played by substituting. glissando or hammer on for the bend, Pinch Harmonics Fret the note as usual, but ‘pinch’ or ‘squeeze’ the string with che picking hhand to produce a harmonic overtone. ‘Small notes show the resultant pitch. Microtones ‘A downwards arrow means the written pitch is lowered by less than a semitone; an upwards arrow raises the ‘written pitch Special Tunings Non-standard tunings are shown gs ‘tuning boxss’. Each box represents one guitar string, the leftthost box corresponding to the Towest pitched string. The sjmbol "in a box means the pitch of the corresponding string is not altered. A nove within a box means the string must be re-tuned as stated, For tablature readers, numbers appear in the boxes. The numbers represent che number of hal-steps the string must be tuned up or down, The tablature relates to an {instrument tuned as stated. (Chord naming ‘The following chord naming convention has been used. Note that chord symbols show the overall harmony, sometimes simplified, and are not intended to indicate a suitable accompaniment. Altered Sths are shown as ‘dim5" or ‘augs", whilst alterations to added notes are indicated by or‘ 47 Slide Guitar 4) Play using slide, 1b) Play without slide. Vibrato Apply vibrato, by ‘shaking’ note or with rwemolo bar. AS vibrato is s0 much a matter of personal taste and technique, ‘tis indicated only where essential Pick Scratch ‘Scrape the pick down the strings ~ this works best on the Wound strings. Repeated Chords ‘To make rhythm guitar parts easier to read the tublature numbers may be ‘omitted when a chord is repeated. The ‘example shows a C major chord played naturally, sf muted, Uv muted and as ‘an unpitched mute respectively ‘Tune the low E (6th) string down one tone (ew half-steps) to D. © Gm 5 Cust cxf cdins Cdn Cougs CS Cub Coa? C7 Clauss Cand Cn? CHPsns Cdn? cmd C2 Gof CTS CHE Cac CBb SS SSP SaaS eas ‘Where there is no appropriate chord name, for example when the music consists ofa repeated figure (or iff) the tonal base is indicated in parenthesis: [C] ‘Where it was not possible to transcribe a passage, the symbol appears178 Key to Percussion Notation <= ae ae eo [mor SSS | [ [wim | high-timbale = Le = ‘Specific percussion techniques re (Cymbal muted by hand, = lms itn rap secesion Hic with both sticks at the same time. Openielosed hi-hat, Le hit open hi-hat with stick, close with pedalPrinted in England Panda Press Haverhill: Suffolk 1/96IN THROUGH THE OUT DOOR BSD 4s eel IN THE EVENING SOUTH BOUND SAUREZ FOOL IN THE RAIN 10) BLOC} CAROUSELAMBRA ALL MY LOVE I'M GONNA CRAWL TP | Il) International Music Publications Limited " eae SSRs eae meen 9 1781859095412 Ora CmCr LL