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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]