Received: from post-office.nevada.edu (post-office.nevada.edu [131.216.1.11]) by redrock.nevada.edu (8.6.4/8.6.4) with ESMTP id NAA22794 for <jamesb@redrock.nevada.edu>; Mon, 10 Jan 1994 13:50:08 -0800
Received: from ucscb.UCSC.EDU (ucscb.UCSC.EDU [128.114.2.8]) by post-office.nevada.edu (8.6.4/8.6.4) with SMTP id NAA15317 for <jamesb@nevada.edu>; Mon, 10 Jan 1994 13:50:02 -0800
Received: by ucscb.UCSC.EDU (5.65/1.34)
id AA10526; Mon, 10 Jan 94 13:49:01 -0800
Date: Mon, 10 Jan 94 13:49:01 -0800
From: indigo@ucscb.UCSC.EDU (Adam Schneider)
Message-Id: <9401102149.AA10526@ucscb.UCSC.EDU>
To: jamesb@nevada.edu
Subject: /v/Suzanne.Vega/Language.tab
LANGUAGE (Suzanne Vega)
-----------------------
[I learned this from the book _The_Authentic_Guitar_Style_of_Suzanne_Vega_,
published by Cherry Lane Music. No guitar-playing Suzanne Vega fan should
be without it. Buy it; it's only $12.95, and it has very good transcriptions
of eleven songs from Suzanne's first two albums. If your local music store
doesn't have it, do a special order or call Hal Leonard (Cherry Lane's
distributor) directly; that's how I got it.]
Every chord in this song has exactly four strings in it. Play each chord as
an arpeggio of six sixteenth notes (each chord is half of a 12/16 measure.)
Here's an example:
A(9)/E G/D Cmaj7 Bm7
|------------------------|------------------------|
|------0-----------0-----|------0-----------0-----|
|----6---6-------4---4---|----9---9-------7---7---|
|--7-------7---5-------5-|--9-------9---7-------7-|
|7-----------5-----------|------------------------|
|------------------------|8-----------7-----------|
A(9)/E: x7760x G/D: x5540x Cmaj7: 8x990x Bm7: 7x770x
Am9: 5x550x G: 3x000x G/F: 1x000x Esus4: 0x220x
Esus4/B: x2220x F#m7(4): 2x220x G6(9): 3x220x Asus9: x0220x
C#m9: x4x440 B(4)/F#: 2xx440 Emaj7/G#: 4xx440 Asus9(#4): x0x440
D6(9): x5x400 A(9)/C#: x4x200
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
[intro]
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
If language were liquid, it would be rushing in
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
Instead here we are, in a silence more eloquent than any word could ever be
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
These words are too solid, they don't move fast enough
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G/F
To catch the blur in the brain that flies by and is gone
Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9)
And is gone, and is gone, gone,
F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9
Gone, gone, and is gone
I'd like to meet you in a timeless, placeless place
Somewhere out of context and beyond all consequences
Let's go back to the building on Little West 12th; it is not far away and
the river is there (Words are too solid, they don't move fast enough)
And the sun and the spaces are all laying low, and we'll sit in the slience
that comes rushing in (To catch the blur in the brain that flies by...)
And is gone, and is gone, gone,
Gone, gone, and is gone
C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4)
[instrumental]
C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4)
[instrumental]
C#m9 C#m9 D6(9) D6(9) A(9)/C# A(9)/C# D6(9) D6(9)
[instrumental]
A(9)/E G/D Cmaj7 Bm7
[instrumental]
I won't use words again, they don't mean that I meant, they don't say
what I said
It's just the crust of the meaning with realms underneath, never touched,
never stirred, never even moved through
If language were liquid, it would be rushing in
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G/F
Instead here we are in a silence more eloquent than any word could ever be
Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9)
And is gone, gone,
F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9
Gone, gone, and is gone [repeat and fade]
|
