Composição de: Eriksen Mikkel Storleer / Tor Erik Hermansen / Ne Yo
Tom:
Afinação:
Capotraste:
Arranged for guitar by Matthew Nace
I have yet to find a satisfactory version of this song (most are highly
inaccurate,
kudos to Garymow1, whose tab is the most accurate I have found, it
saved me a good
deal of time in lifting the song from the recording).
Key: Cm
Tempo: ---- = 144
Capol 3 (all notes and chords relative to capol)
Into (x1), Verses (x2), and Outro (play through, then end on Am)
Am(add9) Bø7/A Am(add9) Bø7/A
e=g
-------------------|-----------------|-----------------|-----------------|
B=D
-T-------0---1---3-|(3)--1-0---1---0-|-------0---1---3-|(3)--1-0---1-----|
4
G=Bb-A-----2-----------|-----2-----------|-----2-----------|-----2-----------|
4 D=F
-B---2---------2---|---3---------3---|---2---------2---|---3---------3---|
A=C
---0-------0-------|-0-------0-------|-0-------0-------|-0-------0-------|
E=G
-------------------|-----------------|-----------------|-----------------|
FF6Fmaj7E7sus
*
Chorus (and Interlude: first six measures then hold first beat of
seventh measure
for two measures)
AmFDmG
-----------------|-----------------|-----------------|-------
-------0-----1---|-------0-----1---|-------0-----1---|-0-----
-2---------------|-2---------------|-2---------------|-------
-----------------|-----------------|-----3-------3---|-------
-----3-------3---|-----0-------0---|-5-------5-------|-----2-
-5-------5-------|-1-------1-------|-----------------|-3-----
|----------|
|--1p0-----|
|0-----2-0-|
|----------|
|----------|
|----------|
AmFGDm
-----------------|-----------------|-----------------|*|
-------0-----1---|-------0-----1---|-0-----1-----3---|--------
-2---------------|-2---------------|-----------------|*|
-----------------|-----------------|-----------------|*|
-----3-------3---|-----0-------0---|-----2-------2---|--------
-5-------5-------|-1-------1-------|-3-------3-------|--------
|
|-----3-1-|
|
|
|---------|
|---------|
AmFDmG
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-----------------|-----------------|-----------------|-------
-------0-----1---|-------0-----1---|-------0-----1---|-0-----
-2---------------|-2---------------|-2---------------|-------
-----------------|-----------------|-----3-------3---|-------
-----3-------3---|-----0-------0---|-5-------5-------|-----2-
-5-------5-------|-1-------1-------|-----------------|-3-----
|----------|
|--1p0-----|
|0-----2-0-|
|----------|
|----------|
|----------|
FG
-----------------|-----------------|-----------------|-------
-----------------|---------1p0-----|-----------------|-------
-2---------------|(2)----2-----2-0-|-----------------|-------
-----------------|-----------------|-0---------------|(0)----
-3---------------|(3)--------------|-2---------------|(2)----
-1---------------|(1)--------------|-3---------------|(3)----
|----------|
|--1p0-----|
|0-----2-0-|
|----------|
|----------|
|----------|
Intro
Cm Dø7/C Cm Dø7/C Ab Ab6 Abmaj7 G7sus
Verse 1
Cm Dø7/C Cm
Dø7/C
Story of my life, searching for the right, but it keeps
avoiding me.
AbAb6Abmaj7
Sorrow in my soul because it seems like one really loves my
G7sus
company.
Cm Dø7/C Cm
Dø7/C
He's more than a man and this is more than love, the reason
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that the sky is blue.
AbAb6Abmaj7
The clouds are rolling in because I'm gone again, and to him
G7sus
I just can't be true.
Pre-Chorus
AbBbCm
And I know that he knows I'm unfaithful, and it kills him
Bb
inside
Ebsus Ab Bb Ab(add9) N.C.
To know that I am happy with some other guy; I can
see him dying.
Chorus
CmAbFmBbCm
I don't wanna do this anymore, I don't wanna be the reason why;
AbBbFm
Everytime I walk out the door I see him die a little more
Cm
inside.
AbFmBb
I don't wanna hurt him anymore, I don't wanna take away his
Ab
life:
Bb
I don't wanna be a murderer.
Verse 2
Cm Dø7/C Cm
Dø7/C
I feel it in the air as I'm doing my hair, preparing for
another date.
AbAb6Abmaj7
A kiss upon my cheek as he reluctantly asks if I'm gonna be
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G7sus
out late.
Cm Dø7/C Cm
Dø7/C
I say I won't be long, just hanging with the girls; a lie I
didn't have to tell.
AbAb6Abmaj7
Because we both know where I'm about to go, and we know it
G7sus
very well.
Pre-Chorus
AbBbCm
'Cause I know that he knows I'm unfaithful, and it kills him
Bb
inside
Ebsus Ab Bb Ab(add9) N.C.
To know that I am happy with some other guy; I can
see him dying.
Chorus
CmAbFmBbCm
I don't wanna do this anymore, I don't wanna be the reason why;
AbBbFm
Everytime I walk out the door I see him die a little more
Cm
inside.
AbFmBb
I don't wanna hurt him anymore, I don't wanna take away his
Ab
life:
Bb
I don't wanna be a murderer.
Bridge
AbBbCmBbEb
Our love, his trust, I might as well just take a gun and
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AbBbAb
Put it too his head; get it over with. I don't wanna do this
Interlude
Cm Dø7/C Cm Dø7/C Ab Ab6 Abmaj7 G7sus
Anymore, oh, anymore.
Chorus
CmAbFmBbCm
I don't wanna do this anymore, I don't wanna be the reason why;
AbBbFm
Everytime I walk out the door I see him die a little more
Cm
inside.
AbFmBb
I don't wanna hurt him anymore, I don't wanna take away his
Ab
life:
Bb
I don't wanna be a murderer.
Outro
Cm Dø7/C Cm Dø7/C Ab Ab6 Abmaj7 G7sus
Cm
A murderer.
The following chord shapes are standard shapes that can be used to play
these chords
without the tab (chords makred * are barre chords or partial barre
chords):
Capol 3 Open
GCFBbDGEADGBEE7: 0 2 2 1 3 0 G7: 3 2 0 0 0 1
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E7sus: 0 2 2 2 1 0 *G7sus: 3 X 0 2 1 1
*F: 1 3 3 2 1 1 *Ab: 4 6 6 5 4 4
*F6: 1 3 X 2 3 1 *Ab6: 4 6 X 5 6 4
G: 3 2 0 0 0 3 *Bb: 6 8 8 7 6 6
A NOTE ABOUT SUSPENDED CHORDS: First, the theory (skip this if you
wish):
Suspended chords are perhaps the most poorly understood chords in the
modern repertoire.
This is because a suspension is not technically a chord, but rather a
melodic ornament;
we, as guitarists, only refer to them as chords for the sake of
simplicity. Technically,
a suspension is a note found in a previous chord that is "suspended"
or "sustained" (the
other name for these types of chords), that is, held over onto the next
chord, even though
these notes are not part of the following chord, and eventually moving
that note to the
nearest note in the chord.
For example, a D note found in a G chord held over into a C chord, even
though the D note
is not normally found in the C chord, is called a 2-1 suspension (or a
9-8 suspension),
and so the C chord becomes a Csus2 (or Csus9). Typically, the note
carried into a new
chord is the fourth note above the name of the chord (top and bottom
inclusive), which
is called a 4-3 suspension, or a "sus4" chord. Because this is the
most common type of
suspension, chords listed just as "sus" are often interpreted to mean
"sus4". However,
there are many types of suspensions, because many notes can be carried
over to the
following chords. A better definition of a suspended chord is to play
all or part of the
seventh chord one whole step (two frets) below the root (i.e. the name)
of the chord, while
also playing the root of the chord and any other notes in the chord
that do not clash.
It is often said that in a "sus4" chord, the 4 note replaces the 3 note
found in the
typical chord (for example, in a Csus4, the F note would replace the E
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note normally
found in a C chord). In fact, this is only partly true: the 4 note
should replace the
closest 3 note to it, but not neccesarily all 3 notes (i.e., there are
two E notes
normally found in the typical C major shape, the F should replace the
nearest E, but
may or may not replace the other E, at the musician's discretion).
Eventually, the 4 note
will descend to become the 3 note (the F will drop to become the E that
it has replaced).
This is called resolution, and traditionally almost always goes down,
though in some
cases (paticularly "sus2" chords), it is becoming more common to
resolve upwards.
The Csus (Ebsus) used here is actually a "sus4/2", and the E7sus
(G7sus) is actually
a "sus4/b6" (though in the root position chords, the Ebsus provided is
only a "sus4",
since Ebsus4/2 is a very difficult chord).
THE POINT: Suspensions are melodic figures, and they need to resolve.
That means that
when a "sus" chord is indicated for a given duration, the "sus" chord
should be played only
for part of that duration (typically half), then the regular chord with
the same root
should be played to finish the measure, before moving on. This chord
change may not be
indicated (as in the case here), but is almost always preferable to
staying on the "sus".