<9401102149.AA10526@ucscb.UCSC.EDU> To: jamesb@nevada.edu Subject: /v/Suzanne.Vega/Language.tab LANGUAGE (Suzanne Vega) ----------------------- [I learned this from the book _The_Authentic_Guitar_Style_of_Suzanne_Vega_, published by Cherry Lane Music. No guitar-playing Suzanne Vega fan should be without it. Buy it; it's only $12.95, and it has very good transcriptions of eleven songs from Suzanne's first two albums. If your local music store doesn't have it, do a special order or call Hal Leonard (Cherry Lane's distributor) directly; that's how I got it.] Every chord in this song has exactly four strings in it. Play each chord as an arpeggio of six sixteenth notes (each chord is half of a 12/16 measure.) Here's an example: A(9)/E G/D Cmaj7 Bm7 |------------------------|------------------------| |------0-----------0-----|------0-----------0-----| |----6---6-------4---4---|----9---9-------7---7---| |--7-------7---5-------5-|--9-------9---7-------7-| |7-----------5-----------|------------------------| |------------------------|8-----------7-----------| A(9)/E: x7760x G/D: x5540x Cmaj7: 8x990x Bm7: 7x770x Am9: 5x550x G: 3x000x G/F: 1x000x Esus4: 0x220x Esus4/B: x2220x F#m7(4): 2x220x G6(9): 3x220x Asus9: x0220x C#m9: x4x440 B(4)/F#: 2xx440 Emaj7/G#: 4xx440 Asus9(#4): x0x440 D6(9): x5x400 A(9)/C#: x4x200

^A(9)/E[intro] ^G/D ^Cmaj7 ^Bm7 ^Am9 ^G ^G/F ^G ^A(9)/E If ^G/Dlanguage were ^Cmaj7liquid, it would ^Bm7be rushing ^Am9in ^G ^G/F ^G ^A(9)/E Instea^G/Dd here we ^Cmaj7are, in a ^Bm7silence more ^Am9eloquent than ^Gany word could ^G/Fever b^Ge ^A(9)/E These ^G/Dwords are too ^Cmaj7solid, they don't ^Bm7move fast e^Am9nough ^G ^G/F ^G ^A(9)/E ^G/D To catch the ^Cmaj7blur in the ^Bm7brain that ^Am9flies by^G and is ^G/Fgone ^G/F Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9) And is gone, and is gone, gone, F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9 Gone, gone, and is gone

I'd like to meet you in a timeless, placeless place Somewhere out of context and beyond all consequences Let's go back to the building on Little West 12th; it is not far away and the river is there (Words are too solid, they don't move fast enough) And the sun and the spaces are all laying low, and we'll sit in the slience that comes rushing in (To catch the blur in the brain that flies by...) And is gone, and is gone, gone, Gone, gone, and is gone C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4) [instrumental] C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4) [instrumental] C#m9 C#m9 D6(9) D6(9) A(9)/C# A(9)/C# D6(9) D6(9) [instrumental]

^A(9)/E[instrum^G/Dental^Cmaj7] ^Bm7 I won't use words again, they don't mean that I meant, they don't say what I said It's just the crust of the meaning with realms underneath, never touched, never stirred, never even moved through If language were liquid, it would be rushing in ^A(9)/E Instea^G/Dd here we ^Cmaj7are in a ^Bm7silence more ^Am9eloquent than ^Gany word could ^G/Fever b^G/Fe Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9) And is gone, gone, F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9 Gone, gone, and is gone [repeat and fade]

Suzanne Vega - Language