HARDING JOHN WESLEY

Tablature long dead gone

John Wesley Harding
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Format : Long dead gone, John wesley harding
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Long dead gone, John wesley harding

#----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: rkh2@ukc.ac.uk L O N G D E A D G O N E by John Wesley Harding from The Name Above The Title This file contains two versions:- the first without chord fingering specified and the second with it. Version 1: ------------------------------------------------------------------------------ L O N G D E A D G O N E by John Wesley Harding from The Name Above The Title (chord fingering not specified in this version) Key: A major A F#m A F#m A F#m It's so easy to forgo A F#m It's so hard to forget A F#m It's so hard for to realize D Bm E That I'm not dead yet A F#m When everything that we wanted A D Is beyond beyond Bm E And all that I hoped for is D A E Long dead gone - alright A F#m So how can I sleep A F#m In this memory bed A F#m When I feel like a grave D Bm E With a tomb for a bed head A F#m With your name and my name A D Carved deep in the stone Bm E Now faded away 'cause we're D A Long dead gone E Well we're long dead gone C# C#7 F#m E We're long dead gone - yeah A E F#m D E Now faded away because we're D A E A Lo-ong dead gone E F#m D E D A E A F#m Love lies bewildered A F#m Checking its pulse A F#m To see if it compares D Bm E To anything else A F#m And two things still beating A D Never as one Bm E And one thing lies choking 'cause it's D A Long dead gone E Well it's long dead gone C# C#7 F#m E It's long dead gone - yeah A E F#m D E One thing lies choking 'cause it's D A E A Lo-ong dead gone D So here rests in pieces A E Whatever it was F#m D That we could admit to F#major Bm Whatever it was E That was me and you What was me and you What was me and you - yeah A F#m A F#m A F#m D Bm E A F#m So why won't I just A F#m Let it die and get rid A F#m Of the truth that we would both D Bm E Would've rather kept hid A F#m Better to live a lie A D Than pretend that you're not Bm E And live out a love which is D A Long dead gone E Well we're long dead gone - yeah C# C#7 F#m E Well we're long dead gone - yeah A E F#m D E Don't live out a love which is - yeah D A E A E Lo-ong dead gone F#m D E Never live out a love which is D A E A E Lo-ong dead gone F#m D E Never live out a love which is D A E A E F#m D E D A E Lo-ong dead gone - yeah A E F#m D E D A E F#m D E D A ============================ T H E E N D ============================== Chords ~~~~~~ As this version doesn't specify which chord fingerings should be used, I haven't included a chord chart. If you want to know the fingerings, see the other posting of this song with specified chords. N.B. F#major is not written as F# purely to make it clear that it isn't F#m. ------------------------------------------------------------------------------ Notes ~~~~~ 1. Learn the song by playing along to the album track. 2. Feel free to use different versions of the same chord or slighlty different varieties of the same one to colour your music. For example, I use a Dsus2 to link the D and Bm chords in the 4th line of the 1st, 2nd, 3rd and 5th sections. 3. If you don't want to use these linking chords (such as the Dsus2's all through this CRD, you needn't). 4. If you're new to barre chords, and would rather stick to open ones you could transpose the tune to the key of G major, which involves shifting all chords done by a tone: This version: Transposed to G major: A G F#m Em D C Bm Am C# & C#7 B7 should be okay F#major Emajor (just plain E) If you want to do this and have a capo, putting it on the 2nd fret will get you in tune with the album track. 6. A big thankyou (THANKYOU) to Alan Pulliam for supplying the lyrics to Long Dead Gone and Backing Out. They made my job a lot easier. 7. Very important this: Have Fun. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---------------------------------------------------------------------------- Ryan Harding Applied Optics Group, University of Kent at Canterbury, UK. ---------------------------------------------------------------------------- "Now no-one's sitting on the fence, whose garden will we end up sitting in?" - John Wesley Harding, "The Person You Are" from "The Name Above The Title" ---------------------------------------------------------------------------- ------------------------------------------------------------------------------ L O N G D E A D G O N E by John Wesley Harding from The Name Above The Title (This version gives specific chord fingering) Key: A major A F#m A F#m A F#m It's so easy to forgo A F#m It's so hard to forget A F#m It's so hard for to realize D Bm E<o> That I'm not dead yet A F#m When everything that we wanted A D Is beyond beyond Bm E<o> And all that I hoped for is D A E Long dead gone - alright A F#m So how can I sleep A F#m In this memory bed A F#m When I feel like a grave D Bm E<o> With a tomb for a bed head A F#m With your name and my name A D Carved deep in the stone Bm E<o> Now faded away 'cause we're D A Long dead gone D Dsus2 E<o> E Well we're long dead gone C# C#7 F#m E Well we're long dead gone - yeah A E F#m D Dsus2 E Now faded away because we're D A E A Lo-ong dead gone E F#m D E D A E A F#m Love lies bewildered A F#m Checking its pulse A F#m To see if it compares D Bm E<o> To anything else A F#m And two things still beating A D But never as one Bm E<o> And one thing lies choking 'cause it's D A Long dead gone D Dsus2 E<o> E Well it's long dead gone C# C#7 F#m E Well it's long dead gone - yeah A E F#m D Dsus2 E<o> One thing lies choking 'cause it's D A E A Lo-ong dead gone D So here rests in pieces A E Whatever it was F#m D That we could admit to F#major Bm Whatever it was E<o> That was me and you What was me and you What was me and you - yeah A F#m A F#m A F#m D Bm E A F#m So why won't I just A F#m Let it die and get rid A F#m Of the truth that we would both D Bm E Would've rather kept hid A F#m Better to live a lie A D Than pretend that you're not Bm E<o> And live out a love which is D A<o> Long dead gone D Dsus2 E<o> E Well we're long dead gone - yeah C# C#7 F#m E Well we're long dead gone - yeah A E F#m D Dsus2 E Don't live out a love which is - yeah Dsus2 A<o> E<o> A<o> E<o> Lo-o-o-ong dead gone F#m D Dsus2 E<o> Never live out a love which is D A<o> E<o> A E Lo-ong dead gone F#m D Dsus2 E<o> Never live out a love which is D A<o> E<o> A E F#m D E<o> D A<o> E<o> Lo-ong dead gone - yeah A E F#m D E<o> D A E F#m D E<o> D A =============================== T H E E N D ================================= Chords corresponding to the above notation ~~~~~~ A major chord: A e||---|---|---|---|-1-|---|---| A This is the A-chord fingering used for B||---|---|---|---|-1-|---|---| E most of Long Dead Gone (where A is used G||---|---|---|---|-1-|-2-|---| C# rather than A<o>). It uses the root-E D||---|---|---|---|-1-|---|-4-| A shape with a barre on the 5th fret. A||---|---|---|---|-1-|---|-3-| E The fingers are numbered as follows: E||---|---|---|---|-1-|---|---| A 1 = index, 2 = middle, 3 = ring, 4 = little finger. F# minor chord: F#m B minor chord: Bm e||---|-1-|---|---| F# These chords are both e||---|-1-|---|---| F# B||---|-1-|---|---| C# played with a barre on B||---|-1-|-2-|---| D G||---|-1-|---|---| A the second fret, and G||---|-1-|---|-4-| B D||---|-1-|---|-4-| F# use root E minor shape D||---|-1-|---|-3-| F# A||---|-1-|---|-3-| C# and root A minor shape A||---|-1-|---|---| B E||---|-1-|---|---| F# respectively. E||---|-1-|---|---| F# D major chord: D which is interchangeable with: D major chord (open): D since treble note is the same e||---|-1-|---|---|---| F# e||---|-2-|---| F# In this B||---|-1-|-2-|---|---| D B||---|---|-3-| D version of G||---|-1-|---|---|---| A <-This is an open G||---|-1-|---| A D the x on D||---|-1-|---|-3-|---| F# C major chord D||---|---|---| D the bass-E A||---|-1-|---|---|-4-| D barred to the 2nd A||---|---|---| A string is E||---|-1-|---|---|---| F# fret. E||---|-x-|---| (F#)optional & can be held with the thumb. E major chord (open): E<o> E major chord: E e||---|---|---| E The chord e||---|---|---|-1-|---|---|---| G# B||---|---|---| B on the B||---|---|---|-1-|-2-|---|---| E G||-1-|---|---| G# right is G||---|---|---|-1-|---|---|---| B D||---|-3-|---| E open C D||---|---|---|-1-|---|-3-|---| G# A||---|-2-|---| B major on A||---|---|---|-1-|---|---|-4-| E E||---|---|---| E the 4th E||---|---|---|-1-|---|---|---| G# fret. C# major chord: C# C# major 7th chord: C#7 e||---|---|---|-1-|---|---| G# A major e||---|---|---|-1-|---|---| G# B||---|---|---|-1-|---|-4-| E# & A 7th B||---|---|---|-1-|---|-4-| E# G||---|---|---|-1-|---|-3-| C# barred G||---|---|---|-1-|---|---| B natural D||---|---|---|-1-|---|-2-| G# on 4th D||---|---|---|-1-|---|-2-| G# A||---|---|---|-1-|---|---| C# fret. A||---|---|---|-1-|---|---| C# E||---|---|---|-1-|---|---| G# E||---|---|---|-1-|---|---| G# F# major chord: F#maj (denoted as F#maj instead of F# to highlight the change from F#m (F# minor) which is used throughout the song) e||---|-1-|---|---| F# This is the open B||---|-1-|---|---| C# E major chord shape G||---|-1-|-2-|---| A# barred on the second D||---|-1-|---|-4-| F# fret. A||---|-1-|---|-3-| C# E||---|-1-|---|---| F# A major chord (open): A<o> D major suspended 2nd: Dsus2 e||---|---|---| E The normal open e||---|---|---| E This is just the B||---|-3-|---| C# A major chord B||---|---|-3-| D open D chord with G||---|-2-|---| A used in the end G||---|-2-|---| A the treble-E open D||---|-1-|---| E section of the D||---|---|---| D The bass-E string A||---|---|---| A song. A||---|---|---| A can be unplayed E||---|---|---| E E||---|-x-|---|(F#) or the thumb be used as in D, or in this case only can be left open. ------------------------------------------------------------------------------ Notes ~~~~~ 1. Learn the song by playing along to the album track. 2. Feel free to use different versions of the same chord or slighlty different varieties of the same one to colour your music. For example, I use a Dsus2 to link the D and Bm chords in the 4th line of the 1st, 2nd, 3rd and 5th sections. 3. If you don't want to use these linking chords (such as the Dsus2's all through this CRD, you needn't). 4. Don't worry too much about whether you use the open or barred versions of the various chords. I think these are the ones used on the twangy guitar in the song (right-hand speaker in stereo), but the difference between one and another is only slight, and you may find it easier to play a certain sequence. 5. If you're new to barre chords, and would rather stick to open ones you could transpose the tune to the key of G major, which involves shifting all chords done by a tone: This version: Transposed to G major: A G F#m Em D C Bm Am Dsus2 forget it, just play C C# & C#7 B7 should be okay F#major Emajor (just plain E) If you want to do this and have a capo, putting it on the 2nd fret will get you in tune with the album track. 6. A big thankyou (THANKYOU) to Alan Pulliam for supplying the lyrics to Long Dead Gone and Backing Out. They made my job a lot easier. 7. Very important this: Have Fun. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


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