Note: On account of this being atonal and rhythmically
abstract, I haven?t attempted to tab it in full; rather
I have just given a rough guide to the three
elements. These can then be used to create your own
rendering of the song. This song has much more to do with
creating atmosphere than playing anything too structured.
For the ?chorus? ?I gotta quit?, I?ve just given the chord.
Scott uses strumming techniques to create different textures,
but I can?t tab texture so?
Fig.1
Fig.2
|[Am7]-0|-|
|-8--|
|-0--|
|-10-|
|-0--|
|-0--|
Ending Brackets indicate that notes may be accidental
NOTE: During second verse, in Fig.1 the open G string is
occasionally struck together with the C# at the 11th.
This too may be accidental, but it does add even more
atmosphere in the form of dissonance.
[Fig.1]
I'll string along I'll string along oo whaoo whaoo whaoo
Come mornings my beads on a faceA thread
A thong oo whaoo whaoo whaoo
[Fig.2]
We can save itWe can change it Put it in lines across the room
But we'll never stop it bristling
[Am7]
and I gotta quit
[Fig.1] (with open G)
With a ribbonless hair With a wire of snare oo whaoo whaoo whaoo
With all the trembling vein that you can bare oo whaoo whaoo whaoo
[Fig.2]
We can save it We can change it Put it in lines across the room
But we'll never stop it pimpling
[Am7]
and I gotta quit
[Ending]
Scrape a little pattern to a sty I kiss holes for the bullets
in case of thigh in case of thigh I kiss holes for the bullets
and I gotta quit and I gotta quit
abstract, I haven?t attempted to tab it in full; rather
I have just given a rough guide to the three
elements. These can then be used to create your own
rendering of the song. This song has much more to do with
creating atmosphere than playing anything too structured.
For the ?chorus? ?I gotta quit?, I?ve just given the chord.
Scott uses strumming techniques to create different textures,
but I can?t tab texture so?
Fig.1
|--------------------------------------.--..
|---9-9----9-9----9----9-9----9-9----9----..
|--------------------------------------.--..
|11-----11-----11---11-----11-----11------..
|--------------------------------------.--..
|--------------------------------------.--..
Fig.2
|------------------------------------------------------------|
|---10----10----10----10----10----10----10----10----10----10-|
|------------------------------------------------------------|
|11----13----13----13----12----12----12----12----12----12----| x3
|------------------------------------------------------------|
|------------------------------------------------------------|
|[Am7]-0|-|
|-8--|
|-0--|
|-10-|
|-0--|
|-0--|
Ending Brackets indicate that notes may be accidental
|--------(0)---------------(0)---------(0)-----------------.--..
|8-8-8-8-----8-8-8-8-8-8-8-----8-8-8-8-----8-8-8-8-8-8-8-8----..
|----------------------------------------------------------.--..
|----------------------------------------------------------.--..
|----------------------------------------------------------.--..
|----------------------------------------------------------.--..
NOTE: During second verse, in Fig.1 the open G string is
occasionally struck together with the C# at the 11th.
This too may be accidental, but it does add even more
atmosphere in the form of dissonance.
[Fig.1]
I'll string along I'll string along oo whaoo whaoo whaoo
Come mornings my beads on a faceA thread
A thong oo whaoo whaoo whaoo
[Fig.2]
We can save itWe can change it Put it in lines across the room
But we'll never stop it bristling
[Am7]
and I gotta quit
[Fig.1] (with open G)
With a ribbonless hair With a wire of snare oo whaoo whaoo whaoo
With all the trembling vein that you can bare oo whaoo whaoo whaoo
[Fig.2]
We can save it We can change it Put it in lines across the room
But we'll never stop it pimpling
[Am7]
and I gotta quit
[Ending]
Scrape a little pattern to a sty I kiss holes for the bullets
in case of thigh in case of thigh I kiss holes for the bullets
and I gotta quit and I gotta quit
