Rihanna - Unfaithful

Rihanna - Unfaithful Arranged for guitar by Matthew Nace I have yet to find a satisfactory version of this song (most are highly inaccurate, kudos to Garymow1, whose tab is the most accurate I have found, it saved me a good deal of time in lifting the song from the recording). Key: Cm Tempo: ---- = 144 Capol 3 (all notes and chords relative to capol) Into (x1), Verses (x2), and Outro (play through, then end on Am) Am(add9) Bø7/A Am(add9) Bø7/A e=g -------------------|-----------------|-----------------|-----------------| B=D -T-------0---1---3-|(3)--1-0---1---0-|-------0---1---3-|(3)--1-0---1-----| 4 G=Bb-A-----2-----------|-----2-----------|-----2-----------|-----2-----------| 4 D=F -B---2---------2---|---3---------3---|---2---------2---|---3---------3---| A=C ---0-------0-------|-0-------0-------|-0-------0-------|-0-------0-------| E=G -------------------|-----------------|-----------------|-----------------| Pre-chorus and Bridge F G Fadd9 N.C. -----------------|-----------------|-----------------|-----------------| -------0-----1---|-0-----1-----3-1-|(1)--------------|---------1p0-----| -2---------------|-----------------|-----0h2---------|-------------2-0-| -----------------|-----------------|-----------------|-------2---------| -----0-------0---|-----2-------2---|---3-------------|-----------------| -1-------1-------|-3-------3-------|-1---------------|-----------------| Chorus (and Interlude: first six measures then hold first beat of seventh measure for two measures) Am F Dm G -----------------|-----------------|-----------------|-----------------| -------0-----1---|-------0-----1---|-------0-----1---|-0-------1p0-----| -2---------------|-2---------------|-2---------------|-------0-----2-0-| -----------------|-----------------|-----3-------3---|-----------------| -----3-------3---|-----0-------0---|-5-------5-------|-----2-----------| -5-------5-------|-1-------1-------|-----------------|-3---------------| Am F G Dm -----------------|-----------------|-----------------|r1.------1p0-----| -------0-----1---|-------0-----1---|-0-----1-----3---|-------------3-1-| -2---------------|-2---------------|-----------------|r2.----2---------| -----------------|-----------------|-----------------|r0.--------------| -----3-------3---|-----0-------0---|-----2-------2---|-----------------| -5-------5-------|-1-------1-------|-3-------3-------|-----------------| Am F Dm G -----------------|-----------------|-----------------|-----------------| -------0-----1---|-------0-----1---|-------0-----1---|-0-------1p0-----| -2---------------|-2---------------|-2---------------|-------0-----2-0-| -----------------|-----------------|-----3-------3---|-----------------| -----3-------3---|-----0-------0---|-5-------5-------|-----2-----------| -5-------5-------|-1-------1-------|-----------------|-3---------------| F G -----------------|-----------------|-----------------|-----------------| -----------------|---------1p0-----|-----------------|---------1p0-----| -2---------------|(2)----2-----2-0-|-----------------|-------0-----2-0-| -----------------|-----------------|-0---------------|(0)--------------| -3---------------|(3)--------------|-2---------------|(2)--------------| -1---------------|(1)--------------|-3---------------|(3)--------------| The Song: Intro Cm Dø7/C Cm Dø7/C Ab Ab6 Abmaj7 G7sus Verse 1 Cm Dø7/C Cm Dø7/C Story of my life, searching for the right, but it keeps avoiding me. Pre-Chorus Chorus Verse 2 Cm Dø7/C Cm Dø7/C I feel it in the air as I'm doing my hair, preparing for another date. Pre-Chorus Chorus Bridge Interlude Cm Dø7/C Cm Dø7/C Ab Ab6 Abmaj7 G7sus Anymore, oh, anymore. Chorus Outro Cm Dø7/C Cm Dø7/C Ab Ab6 Abmaj7 G7sus Cm A murderer. The following chord shapes are standard shapes that can be used to play these chords without the tab (chords makred * are barre chords or partial barre chords): Capol 3 Open G C F Bb D G E A D G B E Am: - 0 2 2 1 0 *Cm: - 3 5 5 4 3 Am(add9): - 0 2 2 0 0 *Cm(add9): - 3 5 5 3 3 Bø7/A: - 0 0 2 0 1 *Dø7/C: - 3 X 1 3 1 C: - 3 2 0 1 0 *Eb: - 6 5 3 4 3 Csus: - 3 2 0 3 1 Ebsus: - - 1 3 4 4 Dm: - - 0 2 3 1 *Fm: 1 3 3 1 1 1 E7: 0 2 2 1 3 0 G7: 3 2 0 0 0 1 E7sus: 0 2 2 2 1 0 *G7sus: 3 X 0 2 1 1 *F: 1 3 3 2 1 1 *Ab: 4 6 6 5 4 4 *F6: 1 3 X 2 3 1 *Ab6: 4 6 X 5 6 4 Fmaj7: - - 3 2 1 0 Abmaj7: - - 6 5 4 3 F(add9): - - 3 2 1 3 Ab(add9): - - 6 5 4 6 G: 3 2 0 0 0 3 *Bb: 6 8 8 7 6 6 A NOTE ABOUT SUSPENDED CHORDS: First, the theory (skip this if you wish): Suspended chords are perhaps the most poorly understood chords in the modern repertoire. This is because a suspension is not technically a chord, but rather a melodic ornament; we, as guitarists, only refer to them as chords for the sake of simplicity. Technically, a suspension is a note found in a previous chord that is "suspended" or "sustained" (the other name for these types of chords), that is, held over onto the next chord, even though these notes are not part of the following chord, and eventually moving that note to the nearest note in the chord. For example, a D note found in a G chord held over into a C chord, even though the D note is not normally found in the C chord, is called a 2-1 suspension (or a 9-8 suspension), and so the C chord becomes a Csus2 (or Csus9). Typically, the note carried into a new chord is the fourth note above the name of the chord (top and bottom inclusive), which is called a 4-3 suspension, or a "sus4" chord. Because this is the most common type of suspension, chords listed just as "sus" are often interpreted to mean "sus4". However, there are many types of suspensions, because many notes can be carried over to the following chords. A better definition of a suspended chord is to play all or part of the seventh chord one whole step (two frets) below the root (i.e. the name) of the chord, while also playing the root of the chord and any other notes in the chord that do not clash. It is often said that in a "sus4" chord, the 4 note replaces the 3 note found in the typical chord (for example, in a Csus4, the F note would replace the E note normally found in a C chord). In fact, this is only partly true: the 4 note should replace the closest 3 note to it, but not neccesarily all 3 notes (i.e., there are two E notes normally found in the typical C major shape, the F should replace the nearest E, but may or may not replace the other E, at the musician's discretion). Eventually, the 4 note will descend to become the 3 note (the F will drop to become the E that it has replaced). This is called resolution, and traditionally almost always goes down, though in some cases (paticularly "sus2" chords), it is becoming more common to resolve upwards. The Csus (Ebsus) used here is actually a "sus4/2", and the E7sus (G7sus) is actually a "sus4/b6" (though in the root position chords, the Ebsus provided is only a "sus4", since Ebsus4/2 is a very difficult chord). THE POINT: Suspensions are melodic figures, and they need to resolve. That means that when a "sus" chord is indicated for a given duration, the "sus" chord should be played only for part of that duration (typically half), then the regular chord with the same root should be played to finish the measure, before moving on. This chord change may not be indicated (as in the case here), but is almost always preferable to staying on the "sus".