The song starts with a bass line with Scott Gorham in the back ground making a muted
so just put your palm and playing hand over the strings and strike downwards, then comes
guitar.
E---7---| Start off with this figure. Play along with the CD for timing.
B---8---|
G---7---|
D---9---|
A---7---|
E-------|
E---5---|
B---7---|
G---7---|
D---7---|
A---5---|
E-------|
E---3---|
B---5---|
G---5---|
D---5---|
A---3---|
E-------|
E-------|
B-------|
G-------|
D---5---|
A---5---|
E---3---|
When the last chord comes in this these lick layers over the top.
E---------------------|
B---12-13-12-13~-12---|
G---12-12-12-12--12---|
D---------------------|
A---------------------|
E---------------------|
Then repeat the first chords.
Again at the last chord this different lick over laps.
E-----------------|
B---17-15-13-12~--|
G---16-14-12-11---|
D-----------------|
A-----------------|
E-----------------|
Repeat the first chords.
Then layer this over the last one.
E-----------------|
B---12-13-15~-13--|
G---11-12-14--12--|
D-----------------|
A-----------------|
E-----------------|
Repeat but play the last chord on its own 3 times. then play the muted strum again.
then just repeat all of that 1 more time.
After that the guitar mimics the bass line.
E--------------------------------------------|
B--------------------------------------------|
G--------------------------------------------| X4
D--------------------------------------------|
A-------5-5-7--7-7-5-5-7-7---5-5-3--3-3-2-0--|
E---7-7-------------7-----7-7--------------3-|
Muted strum.
The backing for the solo is the same as a normal verse.
E-------------------------------------------------------------------------|
B---15b17--15bd17-12--15b17--15bd17-12--15b17-15-12-----------------------|
G----------------------------------------------------12-12-14-12-14b16-14-|
D--------------------------------------------------14---------------------|
A-------------------------------------------------------------------------|
E-------------------------------------------------------------------------|
E---------------------------------15--12--10--8-7-8--10--12--|
B------------------------------------------------------------|
G--12-14b16-----12--14-12---12----12--9---7---5-4-5---7--9---|
D----------12-14--14------14---------------------------------|
A------------------------------------------------------------|
E------------------------------------------------------------|
This is the hardest bit.
E------12-15-12--12--------------12-15-12--12--------------12-14-12--12------|
B--------------15--15-12-------12--------15--15-12-------12--------15--15-12-|
G-12b14-------------------12b14---------------------12b14--------------------|
D----------------------------------------------------------------------------|
A----------------------------------------------------------------------------|
E----------------------------------------------------------------------------|
E--------12-15-12--12--------|
B------12--------15--15-12---|
G-12b14----------------------|
D----------------------------|
A----------------------------|
E----------------------------|
E-------------------------------------------------------------15b17---15~-|
B------------------------------------------15-12-15b17-15-12--------------|
G--14-12--14-12------------------14-12--12~-------------------------------|
D-------14-----14---------------------14----------------------------------|
A-----------------14-12-10--14-12-----------------------------------------|
E-------------------------------------------------------------------------|
Just carry on with the chorus, (all the chords but without the licks.
Have fun!
TGM
About the artist behind Dancing In The Moonlight Tab:
Critic for allmusic.com John Dugan has written that "As the band's creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Van Morrison, Bruce Springsteen, and virtually all of the Irish literary tradition."[1] Van Morrison was a major influence as revealed in an interview with Phil Lynott in the movie Thin Lizzy the Rocker: A Portrait of Phillip Lynott. American groups Little Feat and Bob Seger also influenced Lizzy.[2] Their music covered much territory (including hints of country and traditional folk music), but is generally classified as traditional hard rock or heavy metal.[3]
Though others had earlier used similar techniques, Thin Lizzy is widely recognised as one of the first hard rock bands to employ double lead guitar harmony (the twin guitar clash) - a technique pioneered by Wishbone Ash in the UK, whilst independently in the USA by Lynyrd Skynyrd and The Allman Brothers Band. This style was later refined and popularised by bands of the emerging New Wave of British Heavy Metal, Judas Priest and Iron Maiden especially. The latter group in particular has praised Thin Lizzy extensively and even covered the song "Massacre" from Lizzy's popular Live and Dangerous album. Examples of this dual guitar harmony technique include "The Boys Are Back in Town" and "Cowboy Song" from Jailbreak. Brian Robertson's unconventional use of the wah-pedal as an extension of the instrument during soloing rather than as a purely rhythmic effect, as described in the Total Accuracy video "Still in Love with the Blues" (featuring Brian Robertson & Stuart Bull), is a distinctive and influential sound.
Lynott is one of the few black men to achieve significant success in hard rock. As well as being a multiracial band, members were drawn from both sides of the Irish border and from both Catholic and Protestant communities.[4][5]
Thin Lizzy was ranked #51 on VH1's 100 Greatest Artists of Hard Rock.[6]
Indexed at Wikipedia.