#----------------------------------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. #
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Date: Mon, 10 Jan 94 13:49:01 -0800
From: [email protected] (Adam Schneider)
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To: [email protected]
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  G/D  Cmaj7  Bm7  Am9  G  G/F  G
[intro]

A(9)/E  G/D           Cmaj7            Bm7        Am9  G  G/F  G
  If    language were liquid, it would be rushing in
A(9)/E  G/D       Cmaj7     Bm7          Am9           G              G/F   G
  Instead here we are, in a silence more eloquent than any word could ever be
A(9)/E  G/D           Cmaj7             Bm7        Am9   G  G/F  G
 These  words are too solid, they don't move fast enough
A(9)/E  G/D           Cmaj7       Bm7        Am9     G       G/F  G/F
         To catch the blur in the brain that flies by and is gone
       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  G/D  Cmaj7  Bm7
[instrumental]

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  G/D       Cmaj7    Bm7          Am9           G              G/F   G/F
  Instead here we are in a silence more eloquent than any word could ever be
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]