MAN IN THE MOON, by Adrian Belew Transcribed by Joel Friedman (jf@math.ubc.ca). #-----------------------------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. Remember to view this file in Courier, or some other monospaced # # font. # #---------------------------------------------------------------------------# This is a (hopefully reasonably accurate) transcription of the acoustic version (e.g. on "Salad Days") of this beautiful song. Please send corrections, suggestions, comments, etc. to jf@math.ubc.ca. My TAB notation is pretty standard, with rhythm indicated above the TAB by commas (beats) and periods (half-beats). I suggest chord voicings and fretting-hand fingerings after the TAB. The notation "(*4)" means "(see) 4th note or footnote." The song roughly consists of six sections: (1) Opening chord: Bbmaj7/8 (downstroked once) (2) Picking while singing (all eighth notes) (3) Chord strumming while singing (all downstrokes of eighth notes) (4) Instrumental (picking) (all eighth notes) (5) Chord strumming while singing (all downstrokes of eighth notes) (6) Final chord: F (downstroked once) This song can be flatpicked or fingerpicked (my guess is that Mr. Belew is flatpicking). All strings should be tuned up one half step (if you want to play in F); alternatively you can place a capo on the first fret (whereupon TAB fret positions become relative to the capo position). Section (2) sounds like || Ph.1 | Ph.1 | Ph.2 | Ph.2 | Ph.3 | Ph.2 | Ph.1 (*1) | Ph.1 | | Ph.2 | Ph.3 | Ph.3 || || Ph.1 (*1) | Ph.1 | Ph.1 | Ph.1 | Ph.2 | Ph.2 | Ph.2 | Ph.2 | | Ph.4 | Ph.1 (*2) | Ph.1 (*2) || where Ph.1-4 are the four phrases: Phrase 1 Phrase 2 Phrase 3 Phrase 4 , . , . , . , . , . , . , . , . , . , . , . , . , . , . , . , . |-----------------|-----------------|-----------------|-----------------| |-----5-----5---5-|-----4-----4---4-|-----5-----5---5-|-----4-----4---4-| |---6-----6-------|---4-----4-------|---6-----6-------|---6-----6-------| |-7-----7-----7---|-6-----6-----6---|-6-----6-----6---|-7-----7-----7---| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| (*1) First note of this phrase, 7, replaced by a slide, 6/7 (i.e. 6 to 7). (*2) Here I suggest the alternate fingering (suggested below) for phrase 1, to facilitate the transtion to the upcoming Bb chord. Section (3) sounds like (new line of vocals start on second measure) || Bb || Bb | Bb | Am | Am | Dm | Dm/C | Bb | Bb | Am | Dm | Dm | || Bb | Bb | Bb | Bb | Am | Am | Am | Am | Bb | Bb | Bb | Bb || Section (4) sounds like (vocals start at the end of the last measure) || Ph.5 | Ph.5 | Ph.6 | Ph.6 | Ph.7 | Ph.8 | Ph.9 | Ph.10 | Ph.11 | | Ph.12 | Ph.7 | Ph.8 || where Ph.5-11 are the phrases: Phrases 5 Phrase 6 Phrase 7 Phrase 8 , . , . , . , . , . , . , . , . , . , . , . , . , . , . , . , . |-----0-----0---0-|-----0-----0---0-|-----------0---0-|-----------0-----| |---5-----5-------|---4-----4-------|-----5---5-------|-----5---5-----0-| |-6-----6-----6---|-4-----4-----4---|---6---------6---|---4---------4---| |-----------------|-----------------|-6-----6---------|-6-----6---------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| Phrases 9 Phrase 10 Phrase 11 Phrase 12 , . , . , . , . , . , . , . , . , . , . , . , . , . , . , . , . |-----------0---0-|-----------0-----|---------0-------|---------0-------| |-----5---5-------|-----5---5-----0-|-----4-----4---4-|-----4-----4---0-| |---6---------6---|---6---------6---|---4---------4---|---4---------4---| |-7-----7---------|-7-----7---------|-6-----6---------|-6-----6---------| |-----------------|-----------------|-----------------|-----------------| |-----------------|-----------------|-----------------|-----------------| Section (5) sounds like || Bb | Bb | Bb | Bb | Am | Am | Am | Am | Bb | Bb | Bb | Bb | | Gm | Gm | (in other words, the last line of section (3) with two Gm measures). Some of the beauty of the guitar work here seems to depend on which strings are emphasized in the strumming. For example, in the transition from section 3 to 4, only the higher strings of the Bb chord are heard, which smoothly blends into phrase 5. Also I find the emphasis of the high strings on the Gm chord (perhaps this is just my perception?) at the end of section 5 (as well as the lyrics there) very moving. CHORDS: 5 Bbmaj7/8 5 Bbmaj7/8(alt) 5 Bb 4 Am 5 Dm 1 - - - - 1 - - - - 0 - - 1 - - x - - - - - - 4 - - - - 4 1 - - 1 - - - 2 - - 2 - - - or - 2 - - - (*2) - 2 - 1 - - - - 4 - - 3 - - - - x - - - - 4 - - 3 - - 3 - - 3 - - - - 3 - - - - 3 - - 2 1 - - 1 - - - - 1 - - - - T - - 1 - - x - - 3 Dm/C 2 Gm 0 F x - - - - 1 - - 0 - - - - - 2 - 1 - - 0 - - - - - - 4 1 - - - 1 - - - - - 3 - - 3 - - 3 1 - - - - - - 2 - - 2 x - - - - 1 - - 0 - - (*2) I am able to play only the alternate voicing (on good days). Is there a better name for this chord? Notation is as follows: "1,2,3,4,T" refer to the four fingers and thumb of the fretting-hand. "x" means a string is muted or not played. "0" means a string is left open. Upper left number indicates the fret position. "alt" means an alternate voicing or fingering. SUGGESTED FINGERINGS FOR THE PHRASES: 5 Ph.1 5 Ph.1(alt) 4 Ph.2 4 Ph.3 4 Ph.4 x - - - x - - - x - - - x - - - x - - - 1 - - - 1 - - - 1 - - - - 1 - - 1 - - - - 2 - - - 2 - - 1 - - - - - 2 - - - 3 - - - 3 - - - 4 - - - 3 - - - 3 - - - - 4 x - - - x - - - x - - - x - - - x - - - x - - - x - - - x - - - x - - - x - - - 5 Ph.5 4 Ph.6 4 Ph.7&8 4 Ph.9&10 3 Ph.11&12 0 - - 0 - - 0 - - 0 - - - 0 - - - 1 - - 1 - - - 2 - 0 1 - - 0 1 - - - 2 - 2 - - 1 - 3 - - 2 - - 1 - - x - - x - - - - 4 - - - 3 - - - 3 x - - x - - x - - x - - - x - - - x - - x - - x - - x - - - x - - - Notation is same as for the chords, however: Two or more positions on one string indicate that the you will have to play more than one note on the same string. (Not a big surprise...)