#------------------------------------------------------------------------------##
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/Ab: 4xx440 Asus9(#4): x0x440
D6(9): x5x400 A(9)/C#: x4x200
[A(9)/E][intro][G/D][Cmaj7][Bm7][Am9][G][G/F][G]
[A(9)/E] If [G/D]language were [Cmaj7]liquid, it would [Bm7]be rushing [Am9]in[G][G/F][G]
[A(9)/E] Instea[G/D]d here we [Cmaj7]are, in a [Bm7]silence more [Am9]eloquent than [G]any word could [G/F]ever b[G]e
[A(9)/E] These [G/D]words are too [Cmaj7]solid, they don't [Bm7]move fast e[Am9]nough[G][G/F][G]
[A(9)/E] [G/D] To catch the [Cmaj7]blur in the [Bm7]brain that [Am9]flies by[G] and is [G/F]gone[G/F]
And is [Esus4]gone, [Esus4/B] [Esus4] [Esus4/B] and is [F#m7(4)]gone, [F#m7(4)] [G6(9)]gone,[G6(9)]
G[F#m7(4)]one, [F#m7(4)] [G6(9)]gone, [G6(9)] and is [Asus9]gone[Asus9][Asus9][Asus9]
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][instr[C#m9]umenta[B(4)/F#]l][B(4)/F#][Emaj7/Ab][Emaj7/Ab][Asus9(#4)][Asus9(#4)]
[C#m9][instr[C#m9]umenta[B(4)/F#]l][B(4)/F#][Emaj7/Ab][Emaj7/Ab][Asus9(#4)][Asus9(#4)]
[C#m9][instr[C#m9]umenta[D6(9)]l][D6(9)][A/C#][A(9)/C#][D6(9)][D6(9)]
[A(9)/E][instrum[G/D]ental[Cmaj7]][Bm7]
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] Instea[G/D]d here we [Cmaj7]are in a [Bm7]silence more [Am9]eloquent than [G]any word could [G/F]ever b[G/F]e
[Esus4] [Esus4/B] [Esus4] [Esus4/B] And is [F#m7(4)]gone, [F#m7(4)] [G6(9)]gone,[G6(9)]
[F#m7(4)]Gone, [F#m7(4)] [G6(9)]gone, [G6(9)] and is [Asus9]gone [Asus9] [Asus9][repeat[Asus9] and fade]
