Apostrophe Guitar Book?
Doug Boucher
if this has been talked about already, but I can't seem to find any solid
info on Hal Leonard's guitar tab book for Apostrophe, though I see a few
places on-line that have it listed as a "special order." The Hal Leonard
site doesn't have it listed at all. Anyone have this yet? Is it actually
available? Is it a somewhat flawed but ultimately joyous addition to your
library the way the Hot Rats book was? And what of Bob and his love for
Trevor?
I understand they're possibly doing a book for One Size Fits All too. Yay!
Dougie
dan buxbaum
an employee of Mr. Leonard's ragmill, no doubt.
--
"But as far as I know, they may be trying to wrap me in cellophane and
sell me; brothers help me, and don't worry about looking at the score."
-- Jimi Hendrix ("Somewhere")
Biffy the Elephant Shrew
>Doug Boucher wrote:
>
>> Been a while since I checked in here to this fine newsgroup, so my apologies
>> if this has been talked about already, but I can't seem to find any solid
>> info on Hal Leonard's guitar tab book for Apostrophe, though I see a few
>> places on-line that have it listed as a "special order." The Hal Leonard
>> site doesn't have it listed at all. Anyone have this yet? Is it actually
>> available? Is it a somewhat flawed but ultimately joyous addition to your
>> library the way the Hot Rats book was? And what of Bob and his love for
>> Trevor?
>>
>> I understand they're possibly doing a book for One Size Fits All too.
>Yay!
>>
>> Dougie
>
>an employee of Mr. Leonard's ragmill, no doubt.
I hope you're kidding, Dan. If you're not, you're being a jerk.
Dougie is a cool guy.
Your pal,
Biffy the Elephant Shrew
http://members.aol.com/biffyshrew/biffy.html
http://www.mp3.com/michaelpdawson
"I never met a Republican until I was 21, and it was a
terrifying experience."--Lady Bird Johnson
dan buxbaum
Hal Leonard tab books are *almost always* completely useless pieces of crap.
A tab book that's going to have all the overdubbing transcribed that went down in
the Yellow Snow?--not to mention all the nuances (and "eyebrows") delineated--I
don't think so.
I'm sure Dougie is a swell guy...maybe a bit naive if he thinks a tab book is going
to teach him how to play Inca Roads *perfectly*.
What's the deal with all these tab books anyway--it might be cool to learn FZ's
Willie The Pimp solo note-for-note (if the tab is accurate anyway[?]), but does
anybody really need too--unless you are in a Zappa cover band and are trying to
exactly duplicate a Zappa track with all the Zappaesque inflections. More time
should be spent IMO on individuals who are musicians in trying to sound like
themselves than copying others. But hey if there's a demand for this stuff--like
cover bands themselves--more power to 'em. (From my cursory examinations of the
Hendrix Hal Leonard titles, they are completely useless.)
--
"I don't want to spend my life explaining myself, either you get it or you don't."
-- Frank Zappa
Doug Boucher
> Hal Leonard tab books are *almost always* completely useless pieces of
crap.
Gee, that's a blanket statement if'n I ever heard one. Not that I haven't
seen a few (more than a few, actually) of their books that do kinda suck,
but...
> A tab book that's going to have all the overdubbing transcribed that went
down in
> the Yellow Snow?--not to mention all the nuances (and "eyebrows")
delineated--I
> don't think so.
I think it would be absurd to expect such a thing. *I* certainly don't.
> I'm sure Dougie is a swell guy...maybe a bit naive if he thinks a tab book
is going
> to teach him how to play Inca Roads *perfectly*.
Well, I don't know how swell I am, but I'm not totally stupid. (Partially,
yes. Not totally.) Since I don't believe in or have any use for
"perfection", I'm not looking for something to give me all that. I have a
decent ear. Not a great one. It's something I work on and slowly get better
at. Slowly. So I like to see things written down that I'm going to have a
hard time figuring out what to do with on my own. I almost never learn
things note perfect unless it's a specific part, and I think that's rather
boring anyway. I'm mostly a bass player, I have the attention span of a
crack-fed 4-year old, and my biggest influence was Jack "What, You Want Me
To Play The Same Thing Twice? Are You Fucking NUTS?" Bruce, so the odds of
me being CAPABLE of learning Inca Roads note-for-fucking-exactly-note are
about as remote as the odds of Frank digging himself up and coming over to
my place to show me the fucking song himself. But I like having tools at my
disposal like these books. And I'm fully aware that they aren't always
accurate. My ear is good enough to catch those things. (Usually, I hope.)
> What's the deal with all these tab books anyway--it might be cool to learn
FZ's
> Willie The Pimp solo note-for-note (if the tab is accurate anyway[?]),
On a guitar solo like that, "accuracy" is a rather lofty goal to reach for.
There's no fucking way they can notate everything that's actually happening
there. Not that I need to say that, but ya know what I mean.
> but does anybody really need too--unless you are in a Zappa cover band and
are trying to
> exactly duplicate a Zappa track with all the Zappaesque inflections.
Nobody needs to. I've got the book and I stole a few licks from that solo.
My head would shrivel up and look like Jack Nance's in Eraserhead if I tried
to learn the whole thing. I liked seeing it on paper, but I had no real
desire to play the whole damn thing. Maybe somebody out there does. What the
fuck? Gotta have a hobby.
> More time
> should be spent IMO on individuals who are musicians in trying to sound
like
> themselves than copying others.
I would never question that. I say so myself quite often.
> But hey if there's a demand for this stuff--like
> cover bands themselves--more power to 'em.
You have to realize that people use these things for different purposes. Not
everybody is thinking about learning whole songs or whole albums down to
every last note. As for "copying others", how else do you learn than from
finding out how other people do shit and work that into your own conccpt?
Unless you are some utterly brilliant (not to mention fictional) individual
with superhuman powers of originality like I absolutely am not, then
stealing a few licks here and there is where you get your shit from. It's
where I got my shit. I even sound like shit. Ain't that cool? Yeah sure,
there's plenty of people without a single original thought in their head who
might want to sit down and learn how to do nothing but play other people's
stuff exactly. That's not why I like transcription books. I like them
because I can take what I want from a song and stick it in my skillet and
stir-fry it with all the other things I took from other people. Then I cook
the fucker up and hope it tastes good. My chops are so bad right now (been a
while since I've had the time or the mental energy to really play like I
need to) that everything comes out tasting like half-cooked salisbury steak
TV dinners. I know because my mother poisoned me with that shit growing up.
But when I get some time (and some better drugs for my attention deficit
problem) to really sit down and work through stuff like this, I'm gonna have
fun.
> (From my cursory examinations of the
> Hendrix Hal Leonard titles, they are completely useless.)
The term "cursory" seems well placed, and I'd suggest that you redefine your
ideas of what is useful. I have a few of their Hendrix books and they've
done wonders for my whole concept of rhythm guitar. (Which to me is a cooler
thing about Hendrix than most of his "lead" stuff. And no, I didn't learn
Dolly Dagger note-for-frickin'-note. I stole a few ideas and got funky with
my bad white self.) Anyway, you might as well complain about sheet music of
any kind. Which would make it pretty fucking hard to hear this Mahler
symphony I'm listening to right now since nobody would be able to play the
damn thing.
Dougie
NP Mahler - Symphony No. 2 (Chicago Symphony, Sir Georg Solti conducting)
(Thanks to Pierry for turning me on to this stuff!)
Michael Gula
> And I'm fully aware that they aren't always
> accurate. My ear is good enough to catch those things. (Usually, I hope.)
If the publisher would make an effort to locate a transcriber who
is passionate about the music of Frank Zappa, or a former
bandmember who performed the music (preferably someone who is
both), the result would likely be a transcription of meticulous
accuracy that would have tremendous value.
Ideally, such a project should be error-checked by a committee of
enthusiasts, especially if one of FZs manuscripts is unavailable.
Unfortunately, the Hot Rats tab book was not produced by such a
devotee, so I'm not expecting this new effort from the same
publisher to be any better.
We are aware how much FZ hated to hear his music played wrong.
Imagine how much he would have hated to have it published wrong.
Michael Gula
> What's the deal with all these tab books anyway--it might be cool to learn FZ's
> Willie The Pimp solo note-for-note (if the tab is accurate anyway[?]), but does
> anybody really need too--unless you are in a Zappa cover band and are trying to
> exactly duplicate a Zappa track with all the Zappaesque inflections.
I believe in the sheet music industry, such books are referred to
as "personality folios" or some similar term. Not much different
from a T-shirt or a poster.
Charles Ulrich
Michael Gula <mike...@erols.com> wrote:
> We are aware how much FZ hated to hear his music played wrong.
> Imagine how much he would have hated to have it published wrong.
Barfko-Swill was selling the Freak Out! Collection during FZ's lifetime.
H.
My two cents worth: somewhere out there there is a kid who
can't afford to go to music school, or lives in such a rural area that it's
not feasible. In my case when I was a teenager I lived, & still basically
DO live, in such a tiny isolated area that the only music lessons you could
get were if you joined the high school band. However, you could always
pick up the latest issue of Guitar For The Practicing Musician or Guitar
World & find tabs that you could figure out & play for yourself.
While I believe tablature is in no way a substitute for 'the
real thing', it has probably helped untold numbers down the path to musical
understanding, if for no other reason than it IS, at least for the novice,
easier to grasp. Maybe someone will visit my site & look at some of the
tabs there &, while the tabs may not be 100% accurate or complete, glean
something that helps them understand or figure out or appreciate a song a
little better. & that's what it's all about ;-)
~~H.
--
'Frank Zappa- Highly Ambient Domains'
http://members.tripod.com/~arf_she_said/highlyambient.html
"Michael Gula" <mike...@erols.com> wrote in message
news:3D5F203E...@erols.com...
John Hopkins
hollered:
[--]
Well put, Doug.
I've actually been struggling with the G-Spot Tornado score (the one
available from Barfko), and this is literally note-for-note. I can
read music, but s-l-o-w-l-y, and most of G-ST is in one of my least
natural-feeling key signatures, so even cutting the tempo in half I
still have to take it two or three bars at a time. The main 'riff' was
easy enough after I had to do it four dozen times, but once the middle
part of the piece kicked in it's been uphill in a windstorm.
I dunno -- and doubt -- if this will get me any licks to throw into
whatever stew I brew up in the future, and whenever it's finished I'm
sure it'll be a poor cousin to the synclavier, but it's certainly
helping as far as further appreciating Uncle Frank's compositional
prowess.
(I'm dreading dealing with the eleven-in-the-space-of-eight thing
that's still coming up...)
Doug Boucher
I agree with everything you said. Unfortunately, nobody is doing any of this
and we've gotta live with what is available until somebody does. Maybe a
massive letter-writing campaign is in order. (Not that I have much faith in
it accomplishing anything.) Until then, I'll take what we get. I'm not one
of those people with an ear good enough to produce a truly excellent series
of transcriptions. I wish I was.
The Hot Rats book certainly wasn't anything near perfect, but I felt a bit
closer to Frank's music because of it.
Dougie
Michael Gula
I remember you disparaging this work in other posts. But not
having seen it myself, I don't know how bad it is.
Charles Ulrich
Michael Gula <mike...@erols.com> wrote:
> Charles Ulrich wrote:
> >
> > In article <3D5F1EE2...@erols.com>,
> > Michael Gula <mike...@erols.com> wrote:
> >
> > > We are aware how much FZ hated to hear his music played wrong.
> > > Imagine how much he would have hated to have it published wrong.
> >
> > Barfko-Swill was selling the Freak Out! Collection during FZ's lifetime.
>
> I remember you disparaging this work in other posts. But not
> having seen it myself, I don't know how bad it is.
The following syllables are sung on the same note (G above middle C):
Mis-ter A-mer-i-ca walk on by___ your schools that do not teach.
Mis-ter A-mer-i-ca walk on by___ the minds you'll nev-er reach.
Mis-ter A-mer-i-ca try to hide___ the emp-ti-ness that's you in-side___
When once you find___ the way you lied___
and all the cor-ny tricks you tried___
will not fore-stall the ris-ing tide of HUN-
and then it goes:
F: GRY
G: FREAKS,
D: DAD-DY.
Michael Gula
Since the verses are more spoken/shouted than sung, the one-note
melody *might* be merely a questionable interpretation rather
than an error. But I would need more information (e.g., key
signature) to evaluate.
Can you cite any other examples of wrong notes in the collection?
Charles Ulrich
Michael Gula <mike...@erols.com> wrote:
No sharps, no flats. The chords for the above-mentioned lines are:
C2 Eb2 C2 Eb2
C2 Eb2 C2 Eb2
Dm7 Em7 Eb7 AbMaj7
C2 Eb2 C2 Eb2
C2 Eb2 Em7 Dm7 G Dm7
> Can you cite any other examples of wrong notes in the collection?
Certainly. But first tell me which songs you consider to be sung rather
than spoken. Will the chorus of "Hungry Freaks Daddy" suffice?
Michael Gula
I tried playing them, and I didn't hear any clinkers.
> > Can you cite any other examples of wrong notes in the collection?
>
> Certainly. But first tell me which songs you consider to be sung rather
> than spoken.
Including, but not limited to:
Ain't Got No Heart
Motherly Love
How Could I Be Such a Fool?
Any Way the Wind Blows
I'm Not Satisfied
You're Probably Wondering Why I'm Here
Charles Ulrich
Michael Gula <mike...@erols.com> wrote:
> Charles Ulrich wrote:
> >
> > In article <3D5FCC80...@erols.com>,
> > Michael Gula <mike...@erols.com> wrote:
> >
> > > Charles Ulrich wrote:
> > > >
> > > > The following syllables are sung on the same note (G above middle C):
> > > >
> > > > Mis-ter A-mer-i-ca walk on by___ your schools that do not teach.
> > > > Mis-ter A-mer-i-ca walk on by___ the minds you'll nev-er reach.
> > > > Mis-ter A-mer-i-ca try to hide___ the emp-ti-ness that's you in-side___
> > > > When once you find___ the way you lied___
> > > > and all the cor-ny tricks you tried___
> > > > will not fore-stall the ris-ing tide of HUN-
> > > >
> > > > and then it goes:
> > > >
> > > > F: GRY
> > > > G: FREAKS,
> > > > D: DAD-DY.
> > >
> > > Since the verses are more spoken/shouted than sung, the one-note
> > > melody *might* be merely a questionable interpretation rather
> > > than an error.
The spoken section of "Motherly Love" ("You know I got a little MOTHERLY
LOVE for ya' baby...") is preceded by the notation "(Spoken)" and
notated with x-headed notes, which are nonetheless on distinct pitches
spanning a ninth, some of them bearing accidentals (naturals, flats, and
sharps).
The first verse of "Hungry Freaks Daddy" is not preceded by the notation
"(Spoken)", and it's notated with regular round-headed notes, all on the
same pitch.
> > > Can you cite any other examples of wrong notes in the collection?
> >
> > Certainly. But first tell me which songs you consider to be sung rather
> > than spoken.
>
> Including, but not limited to:
>
> Ain't Got No Heart
No sharps, no flats.
Ain't got no _________ heart
D E F E F E
I AIN'T GOT NO HEART to give ___ a-way
D D E E F F E D E D
I've sat and laughed at fools in love.
E E E E G F# F# F#
There ain't no such thing as love
E E E G F# F# F#
No an-gels sing-ing up a-bove to thee.
E E E E G F# F#E F# G#
> Motherly Love
One sharp.
MOTH-ER-LY LOVE, ___ MOTH-ER-LY LOVE. ___
D C D C D C D C
For-get a-bout the bro-ther-ly and oth-er-ly love. ___
F G F?G D F? E F? D D C# D C?
MOTH-ER-LY LOVE ___ is just the thing for you ___
B B B B B B A B A B
You know your moth-er's gon-na love ya' till yuh don't know what to do.
B B C F# E F# E F# E F# E D C D C D
I'm not sure how to interpret the Fs in the second line. There's a
natural sign on the first one, which is the last eighth note of the
measure. Aren't accidentals supposed to be canceled by bar lines? If so,
the next measure should contain three F#s. But "bro-ther-ly and" is sung
against an F major chord. So maybe the natural is intended to carry over
into the following measure.
On the other hand, the phrase "oth-er-ly love" is contained in a single
measure. But the word "love" is sung on an eighth note tied to a quarter
note, and the quarter note is harmonized with an F major chord. So maybe
the sharp is intended to modify only the immediately following C (-er-),
not other Cs in the same measure (love).
Anyway, if you try all the possibilities, I don't think any of them will
match the recording.
> How Could I Be Such a Fool?
This is not included in the collection.
> Any Way the Wind Blows
>
> You're Probably Wondering Why I'm Here
I stated in my original post ("...Barfko Misses (Freak Out!)", affz,
1996/02/18), that these were "the most accurately transcribed songs", so
I'll skip them for the moment.
> I'm Not Satisfied
No sharps, no flats.
Maybe-be I'll just ___ kill my-self. ___
A A A A E G G G
I just don't care no ___ more, ___ be-cause ___
G A A A G A G G G E
I'M NOT ___ SA-TIS_FIED
F G A G F
Ev-'ry-thing ___ I've tried.
F G A G F
I don't ___ like ___ the way
F G A G F
life has ___ been a-bus-ing me.
Ab Bb C D C D B
Michael Gula
>
> The spoken section of "Motherly Love" ("You know I got a little MOTHERLY
> LOVE for ya' baby...") is preceded by the notation "(Spoken)" and
> notated with x-headed notes, which are nonetheless on distinct pitches
> spanning a ninth, some of them bearing accidentals (naturals, flats, and
> sharps).
>
> The first verse of "Hungry Freaks Daddy" is not preceded by the notation
> "(Spoken)", and it's notated with regular round-headed notes, all on the
> same pitch.
On the last verse ("Supermarket dream"), Zappa, singing solo, is
clearly restricting the passage all to one note. So whoever
transcribed this could make a valid argument for the one-note
scheme.
> > Ain't Got No Heart
>
> No sharps, no flats.
>
> Ain't got no _________ heart
> D E F E F E
>
> I AIN'T GOT NO HEART to give ___ a-way
> D D E E F F E D E D
>
> I've sat and laughed at fools in love.
> E E E E G F# F# F#
>
> There ain't no such thing as love
> E E E G F# F# F#
>
> No an-gels sing-ing up a-bove to thee.
> E E E E G F# F#E F# G#
Sounded OK to me when I played it along with the record. Does it
really say "to thee"?
> > Motherly Love
>
> One sharp.
>
> MOTH-ER-LY LOVE, ___ MOTH-ER-LY LOVE. ___
> D C D C D C D C
>
> For-get a-bout the bro-ther-ly and oth-er-ly love. ___
> F G F?G D F? E F? D D C# D C?
>
> MOTH-ER-LY LOVE ___ is just the thing for you ___
> B B B B B B A B A B
>
> You know your moth-er's gon-na love ya' till yuh don't know what to do.
> B B C F# E F# E F# E F# E D C D C D
>
> I'm not sure how to interpret the Fs in the second line. There's a
> natural sign on the first one, which is the last eighth note of the
> measure. Aren't accidentals supposed to be canceled by bar lines? If so,
> the next measure should contain three F#s. But "bro-ther-ly and" is sung
> against an F major chord. So maybe the natural is intended to carry over
> into the following measure.
>
> On the other hand, the phrase "oth-er-ly love" is contained in a single
> measure. But the word "love" is sung on an eighth note tied to a quarter
> note, and the quarter note is harmonized with an F major chord. So maybe
> the sharp is intended to modify only the immediately following C (-er-),
> not other Cs in the same measure (love).
>
> Anyway, if you try all the possibilities, I don't think any of them will
> match the recording.
You lost me on this one. Damn, it would be easier on both of us
if you could scan the thing and post it somewhere. Is it still
being published? It would help to see the chords as well as the
melody.
>
> > How Could I Be Such a Fool?
>
> This is not included in the collection.
>
> > Any Way the Wind Blows
> >
> > You're Probably Wondering Why I'm Here
>
> I stated in my original post ("...Barfko Misses (Freak Out!)", affz,
> 1996/02/18), that these were "the most accurately transcribed songs", so
> I'll skip them for the moment.
>
> > I'm Not Satisfied
>
> No sharps, no flats.
>
> Maybe-be I'll just ___ kill my-self. ___
> A A A A E G G G
>
> I just don't care no ___ more, ___ be-cause ___
> G A A A G A G G G E
>
> I'M NOT ___ SA-TIS_FIED
> F G A G F
>
> Ev-'ry-thing ___ I've tried.
> F G A G F
>
> I don't ___ like ___ the way
> F G A G F
>
> life has ___ been a-bus-ing me.
> Ab Bb C D C D B
That would work, but it sounds more like a harmony part than the
main melody.
Are you the only person who bought this thing? Anyone else care
to join in?
Dan Hinds
Dougie smoke them? And what of the reggae version of Down on the Corner?
Harvey the wonder hamster sends his love.
-Dan
"Doug Boucher" <where's...@pants.com> wrote in message
news:USr79.22523$N9.28...@twister.neo.rr.com...
Dave Wilcher
"Dan Hinds" <dph...@cox.net> wrote in message
news:SvX79.33002$hg.2...@news1.central.cox.net...
> Also, looking for the secret Alan Hale Project tapes. Where are they?
Did
> Dougie smoke them? And what of the reggae version of Down on the Corner?
> Harvey the wonder hamster sends his love.
More importantly, do you have a tape of Dougie's polka version of "Nothing
Else
Matters"?
Oh, and if the AH project tapes were in you ass, you'd know where they are.
HI Dan!
dave
Charles Ulrich
Michael Gula <mike...@erols.com> wrote:
> Charles Ulrich wrote:
>
> > The first verse of "Hungry Freaks Daddy" is not preceded by the notation
> > "(Spoken)", and it's notated with regular round-headed notes, all on the
> > same pitch.
>
> On the last verse ("Supermarket dream"), Zappa, singing solo, is
> clearly restricting the passage all to one note. So whoever
> transcribed this could make a valid argument for the one-note
> scheme.
Except that the lyrics of the last verse are not included. The one-note
"melody" is above the lyrics of the first verse.
> > > Ain't Got No Heart
> >
> > No sharps, no flats.
> >
Gm Am Bb Am
> > Ain't got no _________ heart
> > D E F E F E
> >
Gm Am Bb Am Gm
> > I AIN'T GOT NO HEART to give ___ a-way
> > D D E E F F E D E D
> >
C D
> > I've sat and laughed at fools in love.
> > E E E E G F# F# F#
> >
C D
> > There ain't no such thing as love
> > E E E G F# F# F#
> >
C D E
> > No an-gels sing-ing up a-bove to thee.
> > E E E E G F# F#E F# G#
>
> Sounded OK to me when I played it along with the record. Does it
> really say "to thee"?
It does indeed. Also "maybe-be" in "I'm Not Satisfied".
> > > Motherly Love
> >
> > One sharp.
> >
G F G F
> > MOTH-ER-LY LOVE, ___ MOTH-ER-LY LOVE. ___
> > D C D C D C D C
> >
G F G F
> > For-get a-bout the bro-ther-ly and oth-er-ly love. ___
> > F G F?G D F? E F? D D C# D C?
> >
Em11
> > MOTH-ER-LY LOVE ___ is just the thing for you ___
> > B B B B B B A B A B
> >
D2
> > You know your moth-er's gon-na love ya' till yuh don't know what to do.
> > B B C F# E F# E F# E F# E D C D C D
> >
> > I'm not sure how to interpret the Fs in the second line. There's a
> > natural sign on the first one, which is the last eighth note of the
> > measure. Aren't accidentals supposed to be canceled by bar lines? If so,
> > the next measure should contain three F#s. But "bro-ther-ly and" is sung
> > against an F major chord. So maybe the natural is intended to carry over
> > into the following measure.
> >
> > On the other hand, the phrase "oth-er-ly love" is contained in a single
> > measure. But the word "love" is sung on an eighth note tied to a quarter
> > note, and the quarter note is harmonized with an F major chord. So maybe
> > the sharp is intended to modify only the immediately following C (-er-),
> > not other Cs in the same measure (love).
> >
> > Anyway, if you try all the possibilities, I don't think any of them will
> > match the recording.
>
> You lost me on this one.
Where I wrote F?, it's unclear whether the transcriber intended F or F#.
Where I wrote C?, it's unclear whether the transcriber intended C or C#.
I don't think the passage is transcribed correctly under any
interpretation.
> Damn, it would be easier on both of us if you could scan the thing and
> post it somewhere.
Unfortunately, I don't have a scanner.
> Is it still being published?
Barfko-Swill lists it for $26.
> It would help to see the chords as well as the melody.
Okay, I've added the chords above the lyrics. The notes are still below
the lyrics.
> > > I'm Not Satisfied
> >
> > No sharps, no flats.
> >
Am7 G
> > Maybe-be I'll just ___ kill my-self. ___
> > A A A A E G G G
> >
Am7 G
> > I just don't care no ___ more, ___ be-cause ___
> > G A A A G A G G G E
> >
Dm Em F Em Dm
> > I'M NOT ___ SA-TIS_FIED
> > F G A G F
> >
Em F Em Dm
> > Ev-'ry- thing ___ I've tried.
> > F G A G F
> >
Em F Em Dm
> > I don't ___ like ___ the way
> > F G A G F
> >
Fm Gm Ab Bb Ab Bb Em
> > life has ___ been a-bus-ing me.
> > Ab Bb C D C D B
>
> That would work, but it sounds more like a harmony part than the
> main melody.
That occurred to me as well. Here and elsewhere individual phrases seem
transposed relative to the preceding phrase.