Fedallahs Hearse

(início)

Album: Potemkin City Limits (2005, G7 Welcoming Committee)
Tabbed by Kyle T.
Contact: *
Site: *~ohpkyle/
Standard tuning (EADGbe)
Legend:
  .   - Palm mute                            o     - Repeat bar
  ~   - Let ring                           _______
  h   - Hammer on                            v     - Vibrato

Note: Guitar 1 on top, guitar 2 on bottom. If both guitars are playing the
same thing, then only one is shown. Proper note alignment when I'm able.
Number of E5s shown in verse might not be accurate.
That 'D' in the verse makes it sound like the guitar(s) should be tuned to
dropped-d, but the intro in dropped-d becomes unnecessarily difficult, so
I've left out the note played on E-tuned-to-D in the verse.
Bar numbers are shown for the sake of comments and editing.
I'm not 100% certain about the interlude, but an E-chord is definitely
being picked. Chords in outro might not be exact, timing is probably wrong,
too.
...But meat definitely is murder! Long live progressive thrash.

Chords Used:

Intro (0:00-0:18):
4/4
 1                 2                 3                 4

 |       v   v             v   v             v   v             v   v     |
 |                                                                       |

 |       v   v             v   v             v   v             *         |
 |                                                                       |

Verse (0:18-0:37):
 13                14                15                16

  As so many practiced diplomats, so too your vaunted laureates, whose access
  to the higher rungs of the cultural priesthood is hinged upon their flair
  for sophistry.
Post-verse (0:37-0:47):

Verse 2 (0:47-1:06):

  Well, I vote you the best-equipped to shrink from speech that might suggest
  any thoughts your key target-market might not have already signed-off on and
  ratified. And I vote you most likely to...
Chorus (1:06-1:25):
                                    3/2
 36                37                38                39

4/4                                 3/2
 40                41                42                43

  Clutter your language with so much dead wood that no amount of pruning
  will reveal your intensive, protracted...
Post-Chorus (1:26-1:32):
4/4
 44                45                46                47

  campaign of saying...

Verse (1:32-1:52):
 49                50                51                52

  nothing at all. Day dream of black tie affairs at Rideau Hall. Your acceptance
  speech, your dramatic pause.
Post-Verse (1:52-2:01):

         v   v             v   v             v   v             v   v
Interlude (2:01-2:43):
                                                                        4x
 62                63                64                65

  And don't forget to thank those bitter ex-musicians cum-embedded rock
  journalists, frantically applauding the latest artist formerly known as
                                    4x
 66                67                68                69

  iconoclast. Giddy from the fumes of a fresh defection, moping to the maudlin
  beat of a hat rack rhythm section. A tacit understanding of mutual non-aggression,
  enjoyed by every nauseating do-nothing functionary.
1/2?
 70

Chorus (2:43-2:??):
                                    3/2
 71                72                73                74

4/4                                 3/2
 75                76                77                78

  It's not so much the incessant ruse of assigning profound meaning to the
  curios you decorate your sets with in your extraordinarily mundane fictions.
Post-Chorus (3:02-3:07):
4/4
 79                80                81                82

  It's the arrogance of the subtext:
Verse 3 (3:07-3:27):

  The province of human affairs is a field best left to the dilettantes
  with an extraordinary gift for the feigning of paralysis.
Verse 4 (3:27-3:47):

  Nothing at all. Day dream of black tie affairs at Rideau Hall. Your acceptance
  speech. Sustained...
Post-Verse (3:47-3:51):

  applause.
Outro (3:51-4:00):
 106               107               108               109