Biografía:
Sarah Hope Slean, cantante y compositora canadiense de Ontario.
Actualemente es una estudiante de la Universidad de Toronto , estudia música y filosofía, ademas de dedicarse a la fotografía y la pintura.
Read more on Last.fm
¡Cuatro años de duro trabajo!Este mes de mayo cumplimos cuatro años al aire. Seguimos trabajando en la difusión de este maravilloso instrumento, ¡gracias por participar en nuestra historia!
Artist: Sarah Slean
Song: Duncan
Album: Night Bugs (2002)
Tabbed by: neuroxik
Email: neuroxik [-at] gmail [dot-] com
Tuning: Standard (EADGBe), CAPO IV (4th pos)
Time sig: 6/4 @158 bpm, key of Cmaj (Emaj non-relative to Capo)
See notes at end of chords/tab
[Chords]
Chord names relative to Capo
==============================================================================
F(b5) F6 Cmaj7 C Dm
x-x-3-2-0-x x-x-3-2-3-1 x-3-2-0-0-0 x-3-2-0-1-0 x-x-0-2-3-1
Dm Dmadd9 Cadd9 (intro) Cadd9 (verse) G
x-x-0-2-3-1 x-x-3-2-3-0 x-x-0-0-1-0 x-3-2-0-3-0 3-2-0-0-0-3
G7 Em E E7 Am
x-x-3-0-3-1 0-2-2-0-0-0 0-2-2-1-0-0 0-2-2-1-3-0 x-0-2-2-1-0
A Dm
x-0-2-2-2-0 x-0-3-2-3-1
*("love" in chorus, with A as root, but NOT in 2nd chorus)
==============================================================================
Piano adap. & slightly simplified for gtr.
[Intro]
F(b5) F6 F F(b5) Cmaj7 C F(b5) F6 F
e|--------------------------|-------0-----------------|-----------------------
B|---------0-3--3---1--p0---|---------0---1-----------|---------0-3--3---1----
G|-------2---2--2-----------|-----0-----------0-------|-------2---2--2--------
D|-3--------(3)(3)--3-------|-2-------------------2---|-3--------(3)(3)--3----
A|--------------------------|-------------------------|-----------------------
E|--------------------------|-------------------------|-----------------------
1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 +
• • • •
F(b5) C F(b5) F6 F F(b5)
e -----|--------------0-----------|--------------------------|
B -p0--|--1-----1---1-----3p1p0---|-0-------0-3-3---1--p0----|
G -----|------0---0-----0-------2-|-------2---2-2------------|
D -----|--2-----------------------|-3---------3-3------------|
A -----|--------------------------|--------------------------|
E -----|--------------------------|--------------------------|
6 + 1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 + 6 +
• •
Cmaj7 C Dm Dmadd9 Cadd9 G G7
e|-------0---------------|-1-----------0h1p0-------|-3-----------------------|
B|-0-------0---1---------|-3-----3---------------1-|-0-------3---3-----------|
G|-0---------------0-----|-----2-------------------|-0---0-------0-----------|
D|-2---2---------------2-|-0-------2h3---------0---|-------------3-----------|
A|-----------------------|-------------------------|-------------------------|
E|-----------------------|-------------------------|-3-----------------------|
1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + (rest)
•
[Verse 1]
F Cmaj C
Whatever happened to Dun- can?
F F6 F C Cadd9 C
He was a good boy they say
F F6 F Cmaj7 C Dm G
The girls all wanted him to dance with, the boys to play, to play
F Cmaj7 C
When the policeman came kno- cking,
F F6 F C Cadd9 C
she didn't know what to say
F F6 F Cmaj7 C Dm G
Except his shoes and socks were all gone, it seems he ran a-way
[Chorus]
C Em Dm G
Oh, you fool, you fool! Don't give into fate. If this is
E E7 Am A Dm G
all we've got to fight for, rage my darling, rage!
C Em Dm G
Duncan, good for you! Sad but on your way, well the
E E7 F Dm G
Army never turned his crank, but love sure made him -
*
[Bridge]
(repeat intro, simile)
F(b5) F6 F F(b5) Cmaj7 C
brave
F(b5) F6 F F(b5) C
F(b5) F6 F F(b5) Cmaj7 C
Dm Dmadd9 Cadd9 G G7
[Verse 2]
F Cmaj7 C
A sweeter infatu-a- -tion
F F6 F C Cadd9 C
Oh you'd be hard pressed to find
F F6 F Cmaj7 C Dm G
He loved so deeply mad- ly, he nearly lost his mind
F Cmaj7 C
And oh behold the mayor's daugh- ter
F F6 F C
She was a treat for the eye
F F6 F Cmaj7 C Dm G
Why this the only thing to live for, just made to die!
[Chorus]
C Em Dm G
Oh, you fool, you fools! Don't give into fate. If this is
E E7 Am A Dm G
all we've got to fight for, rage my darling, rage!
C Em Dm G
Duncan, good for you! Sad but on your way, well the
E E7 F Dm G
Army never turned his crank, but love sure made him -
[STRINGS 'SOLO']
C Em Dm G
brave. La, da-da, da-da
E E7 Am A Dm G
Laaaa...
[Chorus]
C Em Dm G
This is holy war! We must fight and fight a-gain, and go a
E E7 F Dm G
thousand times for the sake of love, but never once in -
[Outro]
(repeat intro, simile)
F(b5) F6 F F(b5) Cmaj7 C
vain Oh-
F(b5) F6 F F(b5) C
oh
F(b5) F6 F F(b5) Cmaj7 C
[Replace 2 last measures of intro with this]
(slowing down)
Dm G7 D5 G7 C
e|----------1---------------|--------------8---------------------------------|
B|--3-------3---3-----------|------------------------------------------------|
G|--2---2-------4---2---4---|--9--------9------------------------------------|
D|--0-----------3---0---3---|--10--------------------------------------------|
A|--------------5---0---5---|--10---10---------------------------------------|
E|--------------3-------3---|--8---------------------------------------------|
***********************************
• Staccato
h Hammer-on
p Pull-off
***********************************
NOTES:
------------------------------------------------------------------------------
Suggested fingering for meas. #7. 1 = index, 4 = pinky
e|--1---------------0-h1-p0--------|
B|--3------3---------------------1-|
G|------2--------------------------|
D|--0---------2-h3------------0----|
A|---------------------------------|
E|---------------------------------|
1 2 4 1 3 1
4
- The Cmaj7 in the verse is open to interpretation. The piano does an E5, the
bass an E, but the overall tonality is Cmaj7 as she then augments to C. You
could choose to play an Em instead of Cmaj7, but I found it didn't really
translate well.
- The F6 could've also been interpreted as Dm but the bass does F when she
echoes the same patterns during the verses, and strumming an F6 with (in whole)
its F root sounds better, either placing thumb on 1st fret or whichever way.
- The way you arpeggiate the chords can be more guitar-style driven. Some
notes within went an octave higher so I kept them lower (ie. not jump to 12th
fret), but some progressions translated into a more dull result. Example:
where an E was followed by a higher E, remaining in that lower octave made the
arpeggio less interesting so I took the liberty to substitute some of the
notes to still give the same climb/descend effect.
Song: Duncan
Album: Night Bugs (2002)
Tabbed by: neuroxik
Email: neuroxik [-at] gmail [dot-] com
Tuning: Standard (EADGBe), CAPO IV (4th pos)
Time sig: 6/4 @158 bpm, key of Cmaj (Emaj non-relative to Capo)
See notes at end of chords/tab
[Chords]
Chord names relative to Capo
==============================================================================
F(b5) F6 Cmaj7 C Dm
x-x-3-2-0-x x-x-3-2-3-1 x-3-2-0-0-0 x-3-2-0-1-0 x-x-0-2-3-1
Dm Dmadd9 Cadd9 (intro) Cadd9 (verse) G
x-x-0-2-3-1 x-x-3-2-3-0 x-x-0-0-1-0 x-3-2-0-3-0 3-2-0-0-0-3
G7 Em E E7 Am
x-x-3-0-3-1 0-2-2-0-0-0 0-2-2-1-0-0 0-2-2-1-3-0 x-0-2-2-1-0
A Dm
x-0-2-2-2-0 x-0-3-2-3-1
*("love" in chorus, with A as root, but NOT in 2nd chorus)
==============================================================================
Piano adap. & slightly simplified for gtr.
[Intro]
F(b5) F6 F F(b5) Cmaj7 C F(b5) F6 F
e|--------------------------|-------0-----------------|-----------------------
B|---------0-3--3---1--p0---|---------0---1-----------|---------0-3--3---1----
G|-------2---2--2-----------|-----0-----------0-------|-------2---2--2--------
D|-3--------(3)(3)--3-------|-2-------------------2---|-3--------(3)(3)--3----
A|--------------------------|-------------------------|-----------------------
E|--------------------------|-------------------------|-----------------------
1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 +
• • • •
F(b5) C F(b5) F6 F F(b5)
e -----|--------------0-----------|--------------------------|
B -p0--|--1-----1---1-----3p1p0---|-0-------0-3-3---1--p0----|
G -----|------0---0-----0-------2-|-------2---2-2------------|
D -----|--2-----------------------|-3---------3-3------------|
A -----|--------------------------|--------------------------|
E -----|--------------------------|--------------------------|
6 + 1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 + 6 +
• •
Cmaj7 C Dm Dmadd9 Cadd9 G G7
e|-------0---------------|-1-----------0h1p0-------|-3-----------------------|
B|-0-------0---1---------|-3-----3---------------1-|-0-------3---3-----------|
G|-0---------------0-----|-----2-------------------|-0---0-------0-----------|
D|-2---2---------------2-|-0-------2h3---------0---|-------------3-----------|
A|-----------------------|-------------------------|-------------------------|
E|-----------------------|-------------------------|-3-----------------------|
1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + 5 + 6 + 1 + 2 + 3 + 4 + (rest)
•
[Verse 1]
F Cmaj C
Whatever happened to Dun- can?
F F6 F C Cadd9 C
He was a good boy they say
F F6 F Cmaj7 C Dm G
The girls all wanted him to dance with, the boys to play, to play
F Cmaj7 C
When the policeman came kno- cking,
F F6 F C Cadd9 C
she didn't know what to say
F F6 F Cmaj7 C Dm G
Except his shoes and socks were all gone, it seems he ran a-way
[Chorus]
C Em Dm G
Oh, you fool, you fool! Don't give into fate. If this is
E E7 Am A Dm G
all we've got to fight for, rage my darling, rage!
C Em Dm G
Duncan, good for you! Sad but on your way, well the
E E7 F Dm G
Army never turned his crank, but love sure made him -
*
[Bridge]
(repeat intro, simile)
F(b5) F6 F F(b5) Cmaj7 C
brave
F(b5) F6 F F(b5) C
F(b5) F6 F F(b5) Cmaj7 C
Dm Dmadd9 Cadd9 G G7
[Verse 2]
F Cmaj7 C
A sweeter infatu-a- -tion
F F6 F C Cadd9 C
Oh you'd be hard pressed to find
F F6 F Cmaj7 C Dm G
He loved so deeply mad- ly, he nearly lost his mind
F Cmaj7 C
And oh behold the mayor's daugh- ter
F F6 F C
She was a treat for the eye
F F6 F Cmaj7 C Dm G
Why this the only thing to live for, just made to die!
[Chorus]
C Em Dm G
Oh, you fool, you fools! Don't give into fate. If this is
E E7 Am A Dm G
all we've got to fight for, rage my darling, rage!
C Em Dm G
Duncan, good for you! Sad but on your way, well the
E E7 F Dm G
Army never turned his crank, but love sure made him -
[STRINGS 'SOLO']
C Em Dm G
brave. La, da-da, da-da
E E7 Am A Dm G
Laaaa...
[Chorus]
C Em Dm G
This is holy war! We must fight and fight a-gain, and go a
E E7 F Dm G
thousand times for the sake of love, but never once in -
[Outro]
(repeat intro, simile)
F(b5) F6 F F(b5) Cmaj7 C
vain Oh-
F(b5) F6 F F(b5) C
oh
F(b5) F6 F F(b5) Cmaj7 C
[Replace 2 last measures of intro with this]
(slowing down)
Dm G7 D5 G7 C
e|----------1---------------|--------------8---------------------------------|
B|--3-------3---3-----------|------------------------------------------------|
G|--2---2-------4---2---4---|--9--------9------------------------------------|
D|--0-----------3---0---3---|--10--------------------------------------------|
A|--------------5---0---5---|--10---10---------------------------------------|
E|--------------3-------3---|--8---------------------------------------------|
***********************************
• Staccato
h Hammer-on
p Pull-off
***********************************
NOTES:
------------------------------------------------------------------------------
Suggested fingering for meas. #7. 1 = index, 4 = pinky
e|--1---------------0-h1-p0--------|
B|--3------3---------------------1-|
G|------2--------------------------|
D|--0---------2-h3------------0----|
A|---------------------------------|
E|---------------------------------|
1 2 4 1 3 1
4
- The Cmaj7 in the verse is open to interpretation. The piano does an E5, the
bass an E, but the overall tonality is Cmaj7 as she then augments to C. You
could choose to play an Em instead of Cmaj7, but I found it didn't really
translate well.
- The F6 could've also been interpreted as Dm but the bass does F when she
echoes the same patterns during the verses, and strumming an F6 with (in whole)
its F root sounds better, either placing thumb on 1st fret or whichever way.
- The way you arpeggiate the chords can be more guitar-style driven. Some
notes within went an octave higher so I kept them lower (ie. not jump to 12th
fret), but some progressions translated into a more dull result. Example:
where an E was followed by a higher E, remaining in that lower octave made the
arpeggio less interesting so I took the liberty to substitute some of the
notes to still give the same climb/descend effect.
Sasha, Benny Y E (...)
Satellite Storie (...)
Sau
Saulius Mykolait (...)
Savage
Say Anything
Say Hi
Say Ocean
Saya
Saybia