Here's the way I've figured out the closing section to "the Musical Box"
by Genesis. This is the bit they segue into from "The Lamb Lies Down
on Broadway" when they play live (Check out Seconds Out to see what
I mean)
Here are the major patterns for the first bit (the "she's a lady" part)
all below are 2 beats each...
 F#  pattern    D#m  pattern   C#  pattern   E  pattern
e----9-7-9--------6-4-6--------4-2-4----------0--------------------------
B---7-7-7-7------4-4-4-4------2-2-2-2--------0-0-------------------------
G-------------------------------------------1---1------------------------
D------------------------------------------2-----2-----------------------
A--9------------6------------4------------2-------2----------------------
E------------------------------------------------------------------------
Below is 8 beats (2 measures)
 F#  pattern 2
e------------------------------------------------------------------------
B----2---2---2---0----2---2---2------------------------------------------
G-----3---3---3---1----3---3---3-----------------------------------------
D------4---4---4---2----4---4---4----------------------------------------
A------------------------------------------------------------------------
E---2---2---2---0----2---2---2---2---------------------------------------
Putting it together:
(the chord name is the pattern name here. each "/" is 1 beat)
 | F# /  F#  /  | F#F# /  | D#m /      D#m    /         | D#m  /  D#m  / |  
                             She's a lady, she's got time        Oh
                             She's a lady, she is mine           Oh
C#       /         C#   /     | E    /    E    /        | F# no. 2 : |  |  
   Brush back your hair, and let me get to know your face
   Brush back your hair, and let me get to know your flesh.
Now Tony comes in on the organ.
                                     |-|
Organ:   | F#  B  C#  F#  | /. B     C# F# C# |    D#m. A#m D#m. A#m  |  
                                    I've been waiting here for so long
You stand there with your fixed expression casting doubt on all I have to say
 | C#  G#m  B  /           | F#.  E  F#          E F# |  E. F#  E  F# E  |  
            and all this time has passed me by            It hardly seems to
           why don't you touch me, touch me why don't you touch me, touch me
                               ____________
                               |1.
          | B.   E  F#  E  B  E   | F# / / / : |  |  
          matter now
touch me now now now now now
________________
|2.
 |  | : F# .  E  F# E B E  | B .  E F# E B E F# : |  |  } repeat this a few times 
                       now now now now now
ending
 | B / / /  | C# / / /  | F# / / /  |  B / / /  | C# / / /  |  F# / / B C#  | F# 
The rapidly alternating part flips between an F#  and a C# , and
finally ends on F# 
Sorry there's no solo here, but I haven't quite figured it out yet.

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