SECCION RECREATIVA IIILet it be de John Lennon y Paul McCartney 20. n a fa Ti q i T 1 23 1 tabulado presenta ua seein ineecininstuentl que 3 aptpaa ‘5 puede Wea para scompofor la melo Nallmenl abe ‘i se pode val avoliad When! ‘ing my-se— in times.of —wouble. Meher Mary ram in me sot ta a inmy ———owrot— darkness shes standog ght infront ole ta> sot ” po 105[Para voz grave,cojilla El reloj al 62traste Roberto Cantoral we kom atm oot = sam mem sai? -_ 8 c ae ee eo oF mop 2 RE we mae ques eqs Ho — Ras 3 tam ‘em sot? Be Bp BR BT tom ee sat eta PORQUE VOY AEN-L0-QUE — CER, Totes 6gi-Ra ma-RG — Siempee —_CUAN-NQA-Ma-NELCRO-TR SS SSS == SSS iam ae ~~ ee td ea po am Rem” sath aoe i ore ee Vel. NO MAS NOS QUE-DQES-TA_—-MO~CHE pa-ma vi — WIR MUES-TROG ~ MOR 1am BO y “Mio ru ric Tac ME RE— Rem sot ve oueR-DA carr Mii -@Re-Me ~Dig-PE 00 — Lok Rem $004 savy Bil RE=te] DE TENTY ca- 2o tan ae aE EO URES AERA TRE 2 QU —Lumt= Ben Mi 08 FO RP que MINH BE ae FO—RA Que Waa oF mi, sou? 2o ay He ‘Mine-cAp- Ma) — NEE NEE~ 60, RE~ vitONLY YOU Golo ty Letra y Masiea: BUCK RAM y ANDE RANDE Adap. espafiola: A. ALPIN SWING o SLow-A0cK ras mi som—bra |vuel — ves luz pue—deha cer feliz, 108—re — miamor en meo-tre—ces | la —der — te ver mis |sue—fios ta los |vuel—ves rea—li 109AL ALBA Rem Mem. Jee iB 0 Se quesstralias son oxtas Comenias ditimos Soros ao te des troze amar mie WE. AUTE ‘diendo sus fem a que hle-rea co-maame—nazas Da-re—ce gueadi-vi—neran qi eenta si-lenciesa danza 3 nt 2d que sangre Ia dia quosesve mal-di—to baile de Salm siento que treela 10a sin or Es Ee E meena vat 19 asehamte teres aciccaeeee ‘sor Le sim a a ie te fy —-do—nes ‘amor mio — ba al al— baal ai—be al alnbaa! Sim Lay Rem abe Los hijosque ne tw Miles de bu/trerce sim ue sin tat tH al— be——— af ai— baal abe at al—baat alba a mAsi estoy yo sin ti letra y musica de Joaquin Sabina FIGURA RITMICA ~ SOL. LA- w— — Brito debe ejcuarse destzando el plgar pot as cuetas graves 09, RE Miz. MI—7_ eA elctuando un rasgueo hacia abajo con las was dl nice y @ 1913. '¢ eo an Bde modo qu suene el scare leo, en su mdsina intensg con la uta Gel pulgaren seni ascendenle en C, rociando fea ao ls Ceres cenales. La igra imicaabarea dos conpases, peo en comps n° 4, liga el segundo comps de deh gua (ane fe catesponde, tepetronos la primer, siguindo después con ia segunda, ltt. ‘Aa segunda ver que se ep el oma, os nimeres 1 2200 Un solo de guitara sin war, éta wee a entrar en 3. SOL ta- si- —o si- ad Eq Grav comeum paloan el Manzena- LA- bo — SOL RE a res Jorpa comgun sici—de sia voce cio. SS ee ee oe 5 x = - St = == SOL bo RE SOL Fb—sur do comgyn bal-go por 0 la—a rae vem Do RE MI— MI-7 ase comeune isla sio Robinson — esgrevre _comeyn hrm DO La/vot RE SOL nel sia fran expres ne-gro como los da——ge las de Machin~ E Mi-— MI-7 bo RE fa—bril como lo carta degmordanprese | SOL si7 MI- 12ashyyo— DO Par did —comgun quiakeaodib depermi— so comayn ane ia Rara— RE CAS 00 sot si- ~iso comegl ojo cayn moni — gut Hore 50 comeyn MI- MI-7 00 sI- LA- daa dy con lampa—rooes comeyn bareo sin po fi— zones A—seshy yo sin DO/SOL RE/FAR =~ LA bo h Mis trisle gveyn toraro al obo lado dele al RE LA- —Do ‘SOL s falén — deg—caro ——____ A—sjes — hey yo a RE/FAR D0 SOL La- A— sies— hy yo nh ses hy p si- Do SOL tAS coDAg CODA AN a. 2 VECES: Y AL [CODA] SOL ‘Vencido como un viejo que pierde al tule, ‘Mas triste que un torero: lascvo come el beso dl creel lot lado del etn de aco. furtivo como el Lie cuando eae Lute, ‘Ast estoy yo, as estoy yo sin Inquieto come un prea en un bude ‘amargo exo el vino da xiao, Errante como un al pore desierio. com el dingo de un jblado quamaco como ol celode Chm, ‘amo una beda pr fo cv Slo camo un poeta en el seropurt, ‘acabo como ovine do ls msi, 28 esioy yo, 21 estoy yo sin ‘camo un pao en un deste, Indi cam in set por vipkado, al etoy yo sn ‘amo el semen dels ahorcodos, Ns liste que un toro ae a vo el pores, 3 oo iad dl tel ace. ‘lero como un nit sin cunpleaos, As estoy yo sin. como el perfume det desengaio, as estoy yo sin © 1987 by Joaquin Ramnén Martinez Sabina. ‘Autrizado para todo e! munde a FIPIO. S.A. 'Y NUEVAS EDICIONES, S.A. Magid 113Ta mujer que yo quiero Letea y untsica de: Juan Manuel Serrat Lepmajer ploy guierd 00 r6ces baciarse ody puoresbileje goss prendideraial- a 0 marl yur poe seoborl aoe aie Fra SOT GH HE “70 ~cheer 3~ gus ben-C- Ae fe-2e muchas de-fec — tos ob ce mi t-te ohms comme Cedbgatir (0-88 core Mh guie-ren dor — me-le ais 3 ~ mir gor fe— ne purke purl tan a-sargueros bo —~ bho con varie 2-60 oT A wy deme-sivdbs ser dj-te nj po — che Pevreelger mitverded gueel/pon y le y se a-mergunle vi — de mix e-0e ~ ini — gos porguesingwerer lt Reenvael- ve 43 y tie-ne de mi —jer te piel y lr la — bios ‘on fides nagor mit campo — heros < Pane Do?fie-rrg —Mig-mor esun o- mar clyales ce le gue. rico cotta sa calor spin deel or ~ g am g Le majer gue yo guteire v0 re-ce-sh-be cerhosjar to-do n0-che tone marge- Le mujer gue yo guierees bls je go-sa macticande fo — tie debe y vo-ni- Le major gaego cuiere mextig it yea pore por fs — vor nese lo d-gas tT ie an i A hele lols bo belo bale be le & emajer gue yo Aamufer ocge 2 3 conn HH He ae te bk bbe bbb b Pero por bo-ver rose dh-get. rita Pmt 5 fem Sol vik, Saha He RE «, “hb ob ke bh b bbbbhh bbhb bb bbbbbe | tow! ehkago SolmJOHN LENNON and CHORDS USED IN THIS SONG: PAULMcCARTNEY D Te GE Ge Ge be Be Gm bm Cie | Dm? Dms | Gmt a S da oa D.S.at @ Coda A Bb Dm Gm A DGm_D D//fcat/ // Cc f ff mss st as Bs ASSS Mi‘chelle ma belle, These are words that go together well, my Michelle. D/ / somt s/c ff fm Lf AS As/ Michelle ma belle, sont les mots qui vont tres bien ensemble, tres bien ensemble. fom / f/f ///om 77 et Bb/// Tove you, I love you, I love you, ‘That's all I want to say. A / pm /Gm// / pm /ce/ pat /Dmé / Gat / / / A/// Uni} fnd a way X wil gay the only words {know tat you'll understand, v/s scat) // C ff fmf Lt AS Bm Sf ASS Mi-chelle ma belle, sont les mots qui vont tres bien ensemble, tres bien ensemble, Jom f fff ff fom ff et Bh fy T need you, need you, Ineed you, "| Ineed to make you see My we yon bi, | oT [iim Job 7 Dat ba6 (Gat / fA 17 what tome,” Untill doy, Fm ™ wigt CYAN ae ld a ee Mi-cholle mya belle, sont les mots qui vout tres blen ensemble, tres blen ensemble. Bf Ppa) Pf Gm) Pf kL ff Def Gm DS 7 f wit gay the oaly words {koow that you'll” understand, my Michelle. 16Yesterday JOHN LENNON ang PAUL McCARTNEY CHORDS USED IN THIS SONG: Pe ee gm HE r Ha t Eee Hu ; f 4 Moderato F Em7T AT Dm Dm7 Bb CT F Cc Dm7 GT Bb F Em? AT Dm Dm7_ Bb ae F Cc Dmt Gt Dm? GT Bb OF Gi Bb OF. ve s/semt / at Dm // Det ‘Yesterday, All ny troubles seemed so far away, Bo/ cr 7 rFo/ /CDmt / cr/B fs // Now It looks as though they're here to stay, Oh believe in yesterday. ///km7 | AT / Dm //Dm7 ‘Saddenly, ‘thn not lalf the man I used io be, Bos ctf ef fC Dat / oat / bbe Sf “tnere's a shadow hanging aver me’ Oh yee -teniay came guddenly. emt/aT/DmC Bb Dm = Gm / ct / F/// Why she had to go I don't know, she wouldn't say. Em?/ AT/ Dm C Bb Dm Gm/ ct / F/// f/f T “ eald something wrong, now I long for yesterday. | Yesterday, Eat / At / Dm //Dmt BeE/ tf F/G ‘Love was such an easy game to play. Now I need a place to hide away, Oh por / Gt / BF // / fat / BE /S T believe ta yeo-terday, | Mm mm mim ai mn. WTHey Jude ‘ORDS USED IN THIS SONG: Fr @ cr ey Gm7 FT JOHN LENNON and jaseeal PAUL McCARTNEY et i FT cr DS. al Fine gs Fos/ yoc ss ot ese foe fy Hey Jude, don't make it bad, take a sad song and make it better. B/S s/s f/f Foss fas ff // Remember to let her into your heart, then you can start to make it better. aL of sf ok sf Hey Jude; ‘don't be afraid, “you were made to go out and get her. Be / / / Foss fers of JF OS ff ‘The minute you let her under your skin, then you begin to make it better. woos fs cow fs Any aay time you feel the pain, Hey Jude, ont / ff ots ff EB Sf Sf Refrain, don't carry the world upon your shoulders. ros cf bh ff fomt For now you know that {t's a fool who plays it cool Sof cos sse sf ff et for sf sf ‘By making his world a littie colder. © Da da da da da da da da da da. JES) ce tt oct ft Hey Jude, ‘don't let me down, you have found her, now go and get her. Bos se Fos? fos ff FST Remember to let her into your heart, then you can start to make it better. 18MOONLIGHT SHADOW mike oldfield A.The, hst— timeey- ex she saw him carried a- way by © — moon- light — shad- ow be cam A a aH Hil passed oon wore ried and. warn = ing carried a.- way by a & B E le la moon - light shad -ow Lost in a rid-dle that Sat - ur- day night ste A B E re tee Hat bee far a-way on the oth er___ side he was caught in the mid-dle of, a che a des-perate fieht ‘and she could-n't fied how to pusb — thenugh (2. They 19VERSE 2: The trees that whisper in the evening Carried away by a moonlight shadow Sing a song of sorrow and grieving Carried away by a moonlight shadow. All she saw was the silhouette of a gun Far away on the other side Ne was shot six times by a man on the run And she couldn't find how to push through. 5 I a 8 GPG = itets WAR a a (Bridge) 1 stay t you in heaven far a-way one day VERSE 3: Four a.m. in the mornin Carried away by a moonlight shadow watch your vison forming Carried away by a moonlight shadow, The stars move slowly ina silvery light Far away on the other side Will you come to talk to me this night But she couldn't find how to push through. BRIDGE: (Repeat) VERSE: (Instr, Solo) 18 VERSE: (Instr, Solo) % VERSE: Caught in the middle of a hundred and five ‘The night was heavy and the air was alive But she couldn't find how to push through VERSE: — (Instr) + Carried away by a moonlight shadow. . Far away on the other side. ... (etc, fade) 120