Jethro Tull — Minstrel In The Gallery Tab
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#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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From: tarvydas@turing.toronto.edu (Paul Tarvydas)
Date: 19 Jul 95 19:22:14 GMT
Subject: CRD: Jethro Tull, Minstrel in the Gallery (acoustic)
Minstrel in the Gallery acoustic portion
Ian Anderson
(transcribed by Paul Tarvydas tarvydas@tsctrl.guild.org)
capo 2nd fret
all chords relative to capo
/ = down strum
= up strum
o = all strings open (if preceding Dsus2, then strings 1—4 open,
if preceding A, then strings 1—5 open, if preceding G, then 1—6
open)
note: The last line "the friends he'd made" is a typical Andersonian
chord—morph. You should play with the fingering until you find
a combination which moves the fewest fingers at one time. Anderson
likes to keep one finger planted and change the chords around it. In
this case, I think he does the following. He plants the 3rd finger of
the left hand as he changes from Dm to A7sus4. Am to C, he plants the
1st finger. C to Cadd9 he lifts the 3rd and places 2nd on the 6th
string, keeping the 1st and 4th fingers planted.
A Asus4 Am A7sus4 C Cadd9/F# Dsus2 Dsus4 Dm
—|——0—————0—————0—————0—————0—————0————————0—————3—————1—|
—|——2—————3—————1—————3—————1—————1————————3—————3—————3—|
—|——2—————2—————2—————0—————0—————0————————2—————2—————2—|
—|——2—————2—————2—————2—————2—————0————————0—————0—————0—|
—|——0—————0—————0—————0—————3—————3——————————————————————|
—|——————————————————————————3—————2——————————————————————|
F G o—Dsus2 o—A o—G
—|——1—————3————————0——0—————0——0—————0——3————————————————|
—|——1—————3————————0——3—————0——2—————0——3————————————————|
—|——2—————0————————0——2—————0——2—————0——0————————————————|
—|——3—————0————————0——0—————0——2—————0——0————————————————|
—|——3—————2—————————————————0——0—————0——2————————————————|
—|——1—————3——————————————————————————0——3————————————————|
/ / / /
A Am C o Dsus2
The minstrel in the gallery
/ / /
A Dsus2 o A
looked down upon the smiling faces.
/ / / / /
F C F F o G
He met the gazes — observed the spaces
/ / / /
Dsus2 o A
between the old men's cackle.
/ / / / /
A Am C o Dsus2
He brewed a song of love and hatred —
/ // // //
G
/ / /
G Dsus2 o A
oblique suggestions and he waited.
F C F G C
He polarized the pumpkin eaters —
F C F G C
static—humming panel—beaters —
F C F G C
freshly day—glow'd factory cheaters
F C F G C
(salaried and collar—scrubbing).
A Am C o Dsus2
He titillated men—of—action —
F C F F o G
belly warming, hands still rubbing
G Dsus2 o A
on the parts they never mention.
A Am C o Dsus2 G
He pacified the nappy—suffering,
G Dsus2 Dsus4 o A
infant—bleating one—line jokers —
F C F G C
T.V. documentary makers
F C F G C
(overfed and undertakers).
A Am C o Dsus2
Sunday paper backgammon players —
F C F C
family—scarred and women—haters.
F C F G C
Then he called the band down to the the stage
F C
and he looked at all
Dm A7sus4 Am C Cadd9/F# F
the friends he'd made.
(tr.) (tr.)
A Asus4
[eof]