Page 5 of 5 FirstFirst ... 345
Results 61 to 67 of 67

Thread: Chords to PJ songs

  1. #61
    Depth is the greatest of heights whenthepawn's Avatar
    Join Date
    Sep 2010

    So, I was bored last night and decided to listen to The Dancer, which I haven't done in a LONG time. Still a great song, but: I noticed a small error in the chords I posted earlier in this thread. So, I thought I'd repost the song, with the corrected chords.

    The Dancer (Repost) - Corrected Chords
    Intro: Am / G / F / E
    Verse: Am / Dsus2 (xx0230)/ E
    Interlude: Same as Intro
    Outro: Same as Intro

    This is pretty simple. You play the Intro twice. Then, play the Verse pattern until you get to the Interlude (after the high-pitched vocalzations).

    From there, you'll repeat the Intro pattern 4 times (since it's the same for the Interlude).

    After that, you'll play the Verse pattern for the final verse.

    Then, you'll repeat the Intro pattern and play this out once the "Cause I've cried days, I've cried nights" part repeats.

    You'll end on an Am chord.

    Notes: While the E chord sounds fine, I like to hammer-on/pull off on the A string (at the 2nd fret), because I think it adds more character. You can also sub an E7 chord for the E, too. It's funny, I always thought I was missing something whenever I would play this. The Dsus2 chord makes SO much sense, I'm surprised I didn't spot the error sooner!

    Anyway, there you have it! Until next time,


  2. #62
    Depth is the greatest of heights whenthepawn's Avatar
    Join Date
    Sep 2010
    Well, I'm back.

    I only have one song to share, for now, but I was so excited when I FINALLY figured this one out that I couldn't wait to post it.

    I'm 99% sure this is correct, but will explain where any confusion comes in.

    Note: Notes in lowercase = high notes

    The Garden
    Tuning: ?
    Verse: G / A# / A / G / A (repeat)

    Play above pattern until Pre-Chorus (that's what I'm calling it):

    and the (G) stars came out (C) around him
    he was (G) thinking of his (C) sins
    and he’s (G) looking at his (C) songbird
    and he’s (G) looking at his (C) wings.

    Back to Verse pattern

    Until Pre-Chorus 2:

    and he (G) came knelt down before (C) him
    and (C) fell upon his (C) knees
    said, I will (G) give you gold and (C) mountains
    if you (G) stay awhile with (C) me (g / a )

    Chorus: and there was (a) trouble taking (g) place (a#) (repeat)

    Interlude (Vocalized part, plus keyboard/piano high notes):

    Aww, aww, aww (f# / a / d ) - Repeat 3 more times

    Back to Verse pattern until:

    Pre-Chorus 3:

    and the (G) wind it gathered (C) round him
    he was (G) thinking of his (C) sins
    he was (G) looking at his (C) songbird
    and he was (G) looking for his (C) wings

    Chorus (Repeat 4x)

    Then end and fade out on the Interlude.

    About the Pre-Choruses - This is the only point of confusion for me. At times, it sounds as if she's playing the G, then throwing in a fast A chord before sliding up to C. Other times, it sounds like G / C / D. However, when I play that on my guitar in Standard tuning, the D sounds too high. This could be one of those times where the circle of fifths is involved, meaning almost every chord used in the song sounds like it would fit there at any point. Personally, all I can really hear is G / C, although I do strike the A string open before playing the C, and I think that sounds perfectly fine.

    Also, play the singular g / a / high notes in Pre-Chorus 2 in the 3rd octave (or higher).

    About the Chorus - All she's doing here is playing the notes in the Verse pattern at a higher octave, somewhere around the 3rd octave or higher. The pattern is tricky, but it sounds like she's just striking them repeatedly and repeating them over and over again.

    About the Interlude - For the longest time, I could not figure this out—until I realized what was going on a couple days ago. These notes are being played somewhere between the 4th ad 5th octaves. When you play this, play the f# and a in the 5th octave, but play the d note in the 4th. You can play it anywhere, so long as you play the d note at a lower octave. Otherwise, it won't sound right.

    It's not perfect, but: It's something.

    I have more, but I've just been busy with other things. I'll try to post them whenever I have time!


  3. #63
    ^ If you can find a copy of the 2001 book "Disruptive Divas" by Lori Burns and Melisse Lafrance, on page 196 there is a very academic analysis of The Garden with actual charts. Burns is an associate professor of music theory at the University of Ottawa. This was used as a college text so used copies can be had on Amazon for $5.

    Google will let you see some of it:
    Last edited by DrDark; 09-10-2017 at 09:22 PM.

  4. #64
    Depth is the greatest of heights whenthepawn's Avatar
    Join Date
    Sep 2010
    ^^^ OMG, thank you SO much for this, DrDark!

    This sheds some light on the confusion surrounding the pre-choruses (as I call them):

    The motivic material changes for the second half of the verse, when "the stars come out," but the process is similar: the voice elaborates and rhythmically varies a melodic pattern, now a rising gesture with a major third, G—Bb—C, while the bass repeats the same two-measure unit, G—Bb—Eb, with clear rhythmic profile
    I can't read sheet music and I have no idea about major thirds, but: I was going to put a B chord before the C ("The stars came out 'round him"), but it didn't quite sound right so I left it out. If it is a Bb—unless I'm misinterpreting the squarish symbol next to the B?)—that would make sense.

    I knew there was something in the bass, too, I just couldn't figure it out. The Eb (You can also use D# there) makes a lot of sense, and because she does use a lowered tuning on this one, every chord I tried sounded too high.

    Very interesting.

    I'm going to read the snippet about Is This Desire?, next, because parts of that have always stumped me as well.

    You know, I've always wondered why there were no sheet music books to any of her albums? Do any exist?

    Anyway, thank you again, DrDark!

  5. #65
    ^ IMHO, ITD (the album) remains her best work, with live versions particularly great.

    Last edited by DrDark; 09-10-2017 at 09:48 PM.

  6. #66
    Depth is the greatest of heights whenthepawn's Avatar
    Join Date
    Sep 2010
    It's been a LONG time since I've posted in this thread. Of course, I have NOT forgotten about it, just busy..

    I don't have much to add, but here are a couple that I have FINALLY figured out!

    The Life and Death of Mr. Badmouth
    Tuning: Drop C (or a variant)?

    I've decided to split this one into a couple parts (with lyrics) so the chord changes are as clear as possible.

    Note: The chords shown are for Standard tuning, not Drop C (or a variant). However, it can be played in Drop C, just remember that the chord changes are relevant to that (meaning they will occur at different places on the neck).

    Intro + Verse: C / D# / F# / D# (repeat)

    Chorus: (This is played at least 5 times throughout the song)

    (G#) Wash it out, wash it out, (A#) wash it out (c - high)

    Back to Verse

    Interlude 1:

    (F) Cause everything is (D#) poi-(C) son

    (F) You'll be the un-(D#) happy (C) one

    (F) Your lips taste of (D#) poi-(C) son

    (F) You're gonna be (D#) left (C#) al-(C) one

    Back to Verse

    Interlude 2:

    (F) Cause your lips taste of (D#) poi-(C) son

    (F) You'll be the un-(D#) happy (C) one

    (F) Everything is (D#) poi-(C) son

    (F) You'll be in the cor - (D#) - ner (C) cryin

    (F) Your lips taste of (D#) poi-(C) son

    (F) You'll be the un-(D#) happy (C) one

    (F) Your lips taste of (D#) poi-(C) son

    (F) You're gonna be (D#) left (C#) al- (C) - one

    Notes: The very end of the song is a mish-mash of distorted chords. You can really make up anything you want, but I definitely hear—after the final C note—C# / C / F#.

    Here's a set of chord shapes (in Tab format) you can use to play the song in Standard tuning. I think it sounds better than barred chords:

    C - 330xxx
    C# - 440xxx
    D# - 660xxx
    F - 880xxx
    G# - x66xxx
    A# - x66xxx
    c (high) - x10-10-xxx


    C - 332xxx
    C# - 443xxx
    D# - 665xxx
    F - 887xxx
    G# - x665xx
    A# - x887xx
    c (high) - x10-10-9xx

    You will notice, if I didn't make any mistakes with the numbering, that the 2nd shape is identical to the first, but it includes an extra note using the d string (I use my index finger).

    Either shape is fine, but if you go with the first, MUTE the open string (the d string) slightly when you play each chord.

    I like to thrown in an extra C# chord then slide back down to C when playing the Interlude parts:

    "(F) Cause everything is (D#) poi-(C) son" (C#) (C), back to Verse.

    I just think it sounds nice and may be something she actually does in live versions. Either way is fine, though.

    Spikey already posted his version of this earlier in the thread, but I've been listening to it a lot lately and decided to try and figure it out. This one is divided into two sections, one for the simple Verse pattern, the other for the simple, yet maddening, craze-inducing chorus.

    The Falling
    Tuning: Standard (slightly lowered?)

    A / F / A / F
    G / F
    G / F (repeat, back to start of pattern)

    Chorus (with lyrics to make chord changes more clear):

    "I dedicate my song saying:

    (Dsus2) Today is the day

    (Dsus2) Today is the day (Asus2)

    So we (D) fall (C)

    And we fall (G) again

    (Asus2) And I have (Dsus2) come to (C) tell you to-day (G)

    (Asus2) That I loved you (Dsus2)

    There's still (C) time to (G) save

    (Asus2) The falling (Dsus2) hearts of our (C) chil- (G) - dren"

    Interlude (Piano/Keyboard): b / c / d

    (The b and c are struck repeatedly in a fast pattern that's hard to pin down, with the d note being thrown in quickly before the pattern is repeated from the beginning).

    Back to Verse

    Chorus 2:

    "Turning round and round saying

    (Dsus2) Today is the day

    (Dsus2) Today is the day (Asus2)

    So we (Dsus2) fall (C)

    And we fall (G) again

    (Asus2) And I have (Dsus2) come to tell you to- (G) day

    (Asus2) That I loved (Dsus2) you

    (Asus2) There's still (C) time to (G) save

    (Asus2) The falling (Dsus2) hearts of our (C) chil- (G) - dren"

    Outro: (This is spread out so you understand the chord changes)

    (Asus2) "F - a - l -(Dsus2) l - (C) i - n - (G) g!" (Repeat 5x)

    End on Asus2

    Notes: Asus2 - x02200
    Dsus2 - xx0230

    The notes played in the Interlude are high notes, which is why they are in lowercase. I'm 95% sure the Chorus is correct, but it took FOREVER to figure it out and drove me crazy—mainly because there are so many layers (The synth strings used in the background, the piano part, the main riff, etc.). As for the Outro, there are times where it sounds like it could be E / D / C / G, but I think that's because she's vocalizing an E note when she sings, "Falling!"

    Anyway, that's all for now. If I can figure out anymore songs, rest assured that I will post them here. If anyone spots/hears an error in anything, feel free to speak up.

    Until next time!


  7. #67
    Depth is the greatest of heights whenthepawn's Avatar
    Join Date
    Sep 2010
    Here are chords for PJ's version of Janet, Johnny, and James by The Fall.

    I stumbled onto it for the first time a couple weeks ago and can't stop listening to it. So, I decided to try and figure it out.

    Janet, Johnny, and James (Cover of The Fall)
    Tuning: ? (It sounds like a lowered tuning, but you can play this in Standard anywhere)

    Intro/Verse: Asus2 / G
    Chorus/Pre-Chorus (Whatever you want to call it): Em / C / G

    This is very simple, but hard to explain. You start with an Asus2, strike that, then pull off on the b string (c note) at the 2nd fret and switch to G. Essentially, you are playing Asus2, then Am (with the b string (c note) being pulled off before the switch.

    You repeat this pattern until the other chord changes occur. Note: She does a little more finger-picking in the pattern, which is not my strong suit, but: You can totally play this Asus2 chord kind of muted the whole time after the pull off. A regular Am chord is also played twice.

    Here it is with lyrics (some were hard to hear):

    Asus2 / G (repeat)

    What if the world crashed in
    unfolded behind your eyelids

    (Em) (C) Crushed your mind (G)
    (Em) (C) Cracked your mind (G)

    Asus2 / G

    Janet and Johnny . . . and James
    Crack your mind, behind your eyelids

    Em / C / G (2x)

    Back to Asus2 / G

    The people behind you with nepotism explode

    Em / C / G (2x)

    Back to Asus2 / G

    All of that rubbish that you create is lost.
    Suddenly cracking

    (Em) with (C) nep-o-(G) tism

    Em / C / G

    Back to Asus2 / G

    Janet and Johnny . . . and James
    Janet and Johnny . . . and James (Am)

    Slight pause and applause

    Back to Aus2 / G

    Dearest Lord hear me now
    Janet and Johnny coming over the mountain (Em) (C) (G)

    from new (Em) Gui- (C) nea (G) Back to Asus2 / G

    They see a star
    They see a future, from you—our creator

    They see (Em) the fu - (C) ture (G)

    Em / C / G that will never happen Back to Asus2 / G until the end.

    End on Am.
    Well, that's it for now. A nice cover. I prefer PJ's version

    Until next time,

    Last edited by whenthepawn; 01-15-2019 at 01:50 AM.

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts