#----------------------------------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. #
#-------------------------------------------------------------------------------#
Minstrel in the Gallery acoustic portion
Ian Anderson
(transcribed by Paul Tarvydas tarvydas@tsctrl.guild.org)
capo 2nd fret
all chords relative to capo
/ = down strum
\ = up strum
o = all strings open (if preceding Dsus2, then strings 1-4 open,
if preceding A, then strings 1-5 open, if preceding G, then 1-6
open)
note: The last line "the friends he'd made" is a typical Andersonian
chord-morph. You should play with the fingering until you find
a combination which moves the fewest fingers at one time. Anderson
likes to keep one finger planted and change the chords around it. In
this case, I think he does the following. He plants the 3rd finger of
the left hand as he changes from Dm to A7sus4. Am to C, he plants the
1st finger. C to Cadd9 he lifts the 3rd and places 2nd on the 6th
string, keeping the 1st and 4th fingers planted.
A Asus4 Am A7sus4 C Cadd9/F# Dsus2 Dsus4 Dm
-|--0-----0-----0-----0-----0-----0--------0-----3-----1-
-|--2-----3-----1-----3-----1-----1--------3-----3-----3-
-|--2-----2-----2-----0-----0-----0--------2-----2-----2-
-|--2-----2-----2-----2-----2-----0--------0-----0-----0-
-|--0-----0-----0-----0-----3-----3----------------------
-|--------------------------3-----2----------------------
F G o-Dsus2 o-A o-G
-|--1-----3--------0--0-----0--0-----0--3----------------
-|--1-----3--------0--3-----0--2-----0--3----------------
-|--2-----0--------0--2-----0--2-----0--0----------------
-|--3-----0--------0--0-----0--2-----0--0----------------
-|--3-----2-----------------0--0-----0--2----------------
-|--1-----3--------------------------0--3----------------
/ / / / \
A Am C o Dsus2
The minstrel in the gallery
/ / / \
A Dsus2 o A
looked down upon the smiling faces.
/ / / / / \
F C F F o G
He met the gazes - observed the spaces
/ / /\ / \
Dsus2 o A
between the old men's cackle.
/ / / / / \
A Am C o Dsus2
He brewed a song of love and hatred -
/ /\/ /\/ /\/
G
/ / / \
G Dsus2 o A
oblique suggestions and he waited.
F C F G C
He polarized the pumpkin eaters -
F C F G C
static-humming panel-beaters -
F C F G C
freshly day-glow'd factory cheaters
F C F G C
(salaried and collar-scrubbing).
A Am C o Dsus2
He titillated men-of-action -
F C F F o G
belly warming, hands still rubbing
G Dsus2 o A
on the parts they never mention.
A Am C o Dsus2 G
He pacified the nappy-suffering,
G Dsus2 Dsus4 o A
infant-bleating one-line jokers -
F C F G C
T.V. documentary makers
F C F G C
(overfed and undertakers).
A Am C o Dsus2
Sunday paper backgammon players -
F C F C
family-scarred and women-haters.
F C F G C
Then he called the band down to the the stage
F C
and he looked at all
Dm A7sus4 Am C Cadd9/F# F
the friends he'd made.
(tr.) (tr.)
A Asus4
[eof]
|