Leo Kottke: Ice Field

guitar tab

          
          
          
          
          From aol.com!MiklPorter Thu Jun 30 17:54:19 1994
Received: from mail02.prod.aol.net ([192.203.190.97]) by undergrad.math.uwaterloo.ca with SMTP id <56961-2>; Thu, 30 Jun 1994 17:52:43 -0400
Received: by mail02.prod.aol.net
	(1.38.193.5/16.2) id AA24987; Thu, 30 Jun 1994 17:52:31 -0400
From: MiklPorter@aol.com
X-Mailer: America Online Mailer
Sender: "MiklPorter" 
Message-Id: <9406301556.tn219232@aol.com>
To: dgaudet@undergrad.math.uwaterloo.ca
Date: Thu, 30 Jun 1994 15:56:13 -0400
Subject: Finish it if you dare
Status: OR

To:    slinberg@hamp.hampshire.edu

Dear Steve,
I'm not any kind of a Leo-level guitarist, and my training is in regular
notation (I don't speak Tab),
but perhaps I can pass along tips that will help you break through the Ice
Field's mysteries. In standard tuning, start with a 1st position Em chord
placement.
The first trick is to develop that bass string motif, so that it flows
effortlessly, but percussively (like the drips off melting icicles it
mimics.) Once you've established this hypnotic mantra, play the Em chord
with your 1st and 2nd fingers on the A/D strings and your pinky (or 3rd
finger-doesn't matter) on the hi E string at the 3rd fret (G note) for 3
counts, move to a D chord for 3, walk down the high E string for 2 notes,
do an A chord for 3, hammer-on to Asus/walk the B string back down (like with
the E string before) which gets you back to the bass string motif. Perform
that whole pattern again. The only variance is your choice of ornamental
notes as transitionals between the chords.
At that point, play the 2 bass string notes that transit you to a C chord for
6 counts, then 2 more back down to
the establishing motif. (Forgive me for not being more specific, but I've no
guitar at hand here. I'm doing it from my head while on a break at work.)
Then modulate back up to the C chord and a more extended modulation back down
to that tonic motif again. When the pattern shifts, it's just to A chord
variants on different fretboard positions followed by some kanoodling on the
A and D strings to bring you back to the tonic motif via an arpeggiated B
chord (see #5 below.)
 That catchy variation on the tonic motif is done by 
1.) Em chord w/pinky as before, but slide up two frets on the hi E string and
let ring 
2.) D chord, slide up 2 frets on the B string/ring (same 3.) Am chord, slide
up 2 on G string and finish pattern with 4.) 2nd/3rd/pinky on the A/D/G
strings-all
2nd fret, same but take pinky off G string while placing index on 1st fret,
lift index off G string making the Em
chord again. 
5.) Arpeggiate a B chord, just the three lowest strings (looks like E chord
pattern with each finger moved one string over/down in pitch) which returns
you to the dripping ice motif. As mentioned before, the main thing is to keep
up that relentless dripping rhythm of:
ONE-two-three-FOUR-five-six-SEVEN-eight,
whether playing transit notes or chords, the exception being nos.1-4 of the
variation listed above.
Those dit-dit-dit-dit noises were made by Leo tapping the ends of his
fingernails on the strings (reverbed)
and probably also by Buell N. the cellist/producer bouncing bow upon strings.
Hope this provides enough of a crowbar so you won't starve, trapped in the
frozen kelp. (He sure loves those tales of the Sargasso Sea.)
Hope this helps before you starve in the frozen kelp.
--- MiklPorter@aol.com

+ hozzászólok

Kommentek

guest mondja
Á, hagyjuk... Beküldöm!

Ehhez a tabhoz még senki sem írt megjegyzést.