p If you are looking for I Need You to Turn To guitar chords, you've come to the right place. You can play I Need You to Turn To by Elton John using guitar or guitar. This song by Elton John can also be played by that instruments. =/p p I Need You to Turn To guitar chords has rhythm and included in Other Songs album. You can also find another musical genres, including jazz guitar chords, country music guitar chords, pop guitar chords, world music guitar chords, and rock guitar chords here. /p h3I Need You to Turn To by Elton John Guitar Chords/h3 Song: I need you to turn tobrTabbed by: DJbr21st Jan 2013brbrTuning:StandardbrCAPO: 7th fret (Sounds in key of Em)brTime signature: 3/4 (waltz time)brbrPlaying fingerstyle with arpeggiated chords,brand the capo at the 7th fret, gives it more of abrharpsicord sound.brbrbrbr| [Am]/ / / | [G]/ / / | [C]/ / / | [D]/ / / |brbr| [Dm]/ / / | [Am] / / / | [G] /[Gsus4]__/ [G]/ / |brbr| [Am]/ / / | [Am/E] / / / | [Am] / / / |[Am/E] / / / |brbrY[Am]ou're not a s[G]hip to ca[C]rry my l[D]ife,brYou are na[Dm]iled to my l[Am]ove in m[C]any lone [Gsus4]- ly ni[Am]ghts,brI've st[Am]rayed from the co[G]ttages, and fo[C]und myself he[D]re,brFor I n[Dm]eed your [Am]love, your lo[G]ve protects my f[Am]ears![Am/E]brbrAn[(G/B)]d I wo[C]nder, sometimes, and I know I'm unkind,brBut I n[E7]eed you to t[Am]urn to when [G]I act so blind,brAnd I n[C]eed you to turn to when I lose control,br[E7] [Am] [G] [(G/B)] [F/A] [G/B] brbrYou're my guardian angel who keeps out the cold-------!brbrbr| [C]/ / / | [D]/ / / | [Dm]/ / / | [Am] / / / |brbr| [G]/ / / | [Am] / / / | [Am/E] / / / |brbrDid you [Am]paint your smile o[G]n? Well, [C]I said I k[D]new...br...That my re[Dm]ason for l[Am]iving was f[G]or lov -[Gsus4] ing y[Am]ou,brWe're re - la[Am]ted in fe[G]eling, but yo[C]u're high a - b[D]ove,brYou're p[Dm]ure and you're ge[Am]ntle, with the gr[G]ace of a d[Am]ove![Am/E]brbrAn[(G/B)]d I wo[C]nder, sometimes, and I know I'm unkind,brBut I n[E7]eed you to t[Am]urn to when [G]I act so blind,brAnd I n[C]eed you to turn to when I lose control,brYou're [E7]my guardian a[Am]ngel who ke[G]eps[(G/B)] out the c[Am]old![Am/E]brbr| [C]/ / / | [D]/ / / | [Dm] / / / | [Am] / / / | [G] /[Gsus4]__/ [G]/ / | [A]/ ||brbrbrAm x02210 Gsus4 320013brG 320002 Am/E xx2210brC x32010 G/B x20002brD xx0232 E7 022130brDm xx0231 F/A x03211brA x02220 p If you want to learn Elton John I Need You to Turn To guitar chords, The 5 chords we'll look at are the C major, A major, G major, E major, and D major. The reason we use all major chords is that the minor versions of any of these chords just require tiny adjustments. Each one of those minor chords is completely based on its major counterpart /p p The more you practice, the easier guitar will feel to play I Need You to Turn To. Guitar is hard to learn in the beginning, but gets easier the longer you stick with it. /p p If you are looking for Eggtooth guitar chords, you've come to the right place. You can play Eggtooth by Leo Kottke using guitar or guitar. This song by Leo Kottke can also be played by that instruments. =/p p Eggtooth guitar chords has rhythm and included in Other Songs album. You can also find another musical genres, including jazz guitar chords, country music guitar chords, pop guitar chords, world music guitar chords, and rock guitar chords here. /p h3Eggtooth by Leo Kottke Guitar Chords/h3 Frombrapollo!uchinews!vixen.cso.uiuc.edu!howland.reston.ans.net!EU.net!uunet!nih-csl!lhc!news Thu Oct 27 22:24:16 1994brNewsgroups:brrec.music.makers.guitar.tablature,rec.music.makers.guitar.acousticbrPath:brapollo!uchinews!vixen.cso.uiuc.edu!howland.reston.ans.net!EU.net!uunet!nih-csl!lhc!newsbrFrom: kucera@rad.lhc (Richard Kucera)brSubject: TAB: Eggtooth by Leo Kottke (epic)brMessage-ID:brLines: 788brSender: news@nlm.nih.govbrOrganization: National Library of MedicinebrDate: 27 Oct 1994 14:29:42 GMTbrXref: apollo rec.music.makers.guitar.tablature:16191brrec.music.makers.guitar.acoustic:8390brbrif this come's across garbled don't fret i've sent it to nevadabr______br__/ o o \__br__/ o o \__br__/ o \__br__/ o o \__br__/ o o \__br__/ o o \__br/__________________\brbrE G G T O O T Hbr|| || || || || ||br|| || || || || ||brbr|| || || || || ||br|| || || || || ||brbrbrBy Leo KottkebrTablature By Rich KucerabrBased on live recording off of 1978 Capitol _The Best_ releasebrbrUse a twelve string in standard tuning, nylon string soundsbrgood too.brbrThis took a long time(it rusted my strings), and you will needbrthe recording if you want to learn it. Since the recording isbrrather hard to find, I'll gladly provide you with a half speedbrand full speed rendition. Just send me a blank cassettebrand an envelope to send it back in. e-mail me at kucera@nlm.nih.govbrand I'll get you my address. I'll also provide you with halfbrand full speed renditions of Junebug off of the same releasebrsince I know that is also rather hard to find(in fact, the Homebrand Away Video erroneously states that Junebug is part of the slidebrmedley which it is not). If I'm not there, too bad! Nevadabrdoesn't archive tapes!brbrIf you've never heard Eggtooth, energy-wise, it's way up there withbrJunebug, Busted Bicycle, Airproofing, but more complex, and just asbrcatchy. People are usually glad when it's over, but for the studentbrof fingerstyle there are lots of fine Kottkeisms buried in it, evenbrwhen you play'em at half speed.brbrUsing a Half-Speed Recorderbrbrprebr---------------------------br/prebrI waited a long time before buying one of these. I wouldn't waitbragain. They're loads of fun. If you're working on a difficult passagebrit can help to record you playing it at half speed, and thenbrhave the tape player double the speed for you. Play a few takes.brThis can be very encouraging and will reassure you that you're on thebrright track. When tabbing, listening at both speeds is necessarybrto get both the microscopic and overall view of a passage.brYour brain can pick up clues anywhere anytime, and usually withoutbrthe benefit of what you think is your knowledge and effort.brbrI welcome better suggestions for any part of this tab. Thisbris my current best guess. I'll note where I'm without enough cluesbrto even commit to anything reasonably accurate.brbrSorry for the lack of timing information--listen to the recording!brbrHave fun!brbr harmonic(E.G. 7)brX mute(e.g. 9X) or strum muted or mute the strings, dependingbr\ slide downbr/ slide upbrH hammerbrp pulloffbrb bend(e.g. 7b9 bend from seven to nine)brbrprebr. stacatto(e.g. ---.----|br---9----|br/prebrbr(intro)brfreely, slowlybrmfbrbrprebr-e|---12-----12-------9--------------------------------------------|br-b|---10-----10-------7--------------------------------------------|br-G|-------9------9\---7--------------------------------------------|br-D|---11--------------0--------------------------------------------|br-A|-----------0---------------------------0------------------------|br-E|-----------------------------0--------------------0-------------|br-e|---12-----12----------------------------------------------------|br-b|---10-----10-------7--------------------------------------------|br-G|-------9------9\---7--------------------------------------------|br-D|---11-----11---------------------------7------------------------|br-A|-----------------------------0--------------------0-------------|br-E|----------------------------------------------------------------|br-e|----2--0--0--0--0-----------------------------------------------|br-b|----3-----0-----2-----------------------------------------------|br-G|----2-----1-----2-----------------------------------------------|br-D|----0-----2-----2-----------------------------------------------|br-A|----------2-----0-----------------------------------------------|br-E|----------0-----------------------------------------------------|br/prebrbrlet the open 'E' ringbrherebr|brvbrbrprebr-e|-----------------------------------------------------------------|br-b|-----------------------------------------------------------------|br-G|-----------------------------------------------------------------|br-D|----------------------------2------------------0-----------------|br-A|----2---4--5-------0----4----------------------------------------|br-E|----0------------------------------------------------0-----------|br-e|-----------------------10--------10-----------------------------|br-b|------------------------8---------8-----------------------------|br-G|----------------------------7----------7------------------------|br-D|----------4-----------------------9-----------------------------|br-A|----2-----------------------------------------------------------|br-E|----------------------------------------------------------------|br/prebrbrI made the following up. I just can't hear the two obscure voicingsbrused here and here, so I substituted this. I don't really like it.br\ /brbrprebr-e|----------0-----------7----2----p0---------------------0-------|br-b|----4---------12-----------0-----------------------0-----------|br-G|------------------------------------------------4---------------|br-D|----4-----0-----------------2---------------2-------------------|br-A|----4-----0-----------------2-----------0-----------------------|br-E|----------------------------------------------------------------|br/prebrbrresuming with the real thingbrbrprebr-e|----------------------------------------------------------------|br-b|----------------------------------------------------------------|br-G|----------------------------------------------------------------|br-D|-------------------------------2---------------0----------------|br-A|---2---4--5-------0------4--------------------------------------|br-E|---0------------------------------------------------0-----------|br/prebrbrfff fffbrbrprebr-e|------------------------------------------2--X----0--X----------|br-b|------------------------------------------3--X----0--X----------|br-G|------------------------------------------2--X----1--X----------|br-D|-----------4----------6b7-----------------0--X----2--X----------|br-A|-----2----------------0-------------------0--X----2--X----------|br-E|------------------------------------------2--X----0--X----------|br/prebrbr(section A.1)brmoderately fastbrffbrbrprebr-e|------------5-----------------------0-------0-------------|br-b|----1/2------------2---------2/3--------------------------|br-G|----------------2X--------2-------------------------------|br-D|-----------------------------2/4--------4-----------------|br-A|----0-----------------0-----------------------------------|br-E|------------0---------------------0-----------------------|br/prebr^the way to hit this note, and thebrway Kottke does, and to also smoothlybrdo the slide following, is to sortbrof jam your ring finger in betweenbryour index and middle. so it's middlebron 4th string, ring on 3rd, and indexbron 2nd. then again, you could justbrmute it and it'll still sound good.br(section A.2)brbrprebr-e|------------5-------------------------0-------0-------------|br-b|----1/2------------2---------2h3p2--------------------------|br-G|----------2-----2X--------2---------------------------------|br-D|--------2--------------------2h4p2--------4-----------------|br-A|----0-----------------0-------------------------------------|br-E|------------0--------------------0--------------------------|br/prebrbr(section A.3)brbrprebr-e|------------5-----------------------0-------0-------------|br-b|----1/2------------2---------2/3--------------------------|br-G|----------2-----2X--------2-------------------------------|br-D|--------2--------------------2/4--------4-----------------|br-A|----0-----------------0-----------------------------------|br-E|------------0---------------------0-----------------------|br/prebrbrrepeat A.2brrepeat A.3brrepeat A.2, end phrase sliding up to 11(yes it goes up to 11)brfrom forth string fourth fret, the slide shouldbrbe just audiblebrbr(section B.1)brbrprebr-e|-----------------------12----------------------------12----------|br-b|-----------10-----10------------------10-------10----------------|br-G|--------9------9-----------------9X---------9----------------9X--|br-D|-----------11---------------11X----------------11--------11X-----|br-A|----0--------------0-------------------0-------------------------|br-E|-----------------------------------------------------------------|br/prebrbr(section B.2)brbrprebr-e|----------------------------X-----------------------------------|br-b|---7/9-----------------9----X-----9-----9--10-------------------|br-G|---7/9-----9-------9------9-X--9-----9-------------9--11--9-----|br-D|----------------------------X-----------9-----------------------|br-A|----------------------------X-------------------0---------------|br-E|--------0-------0------0----X-----0-----------------------------|br/prebrbrrepeat B.1, ATTENTION: substitute for the last note, 9X,bra plucked open third string as you switchbrinto the next section.brbr(section B.3)brbrprebr-e|----------------------------X-----------.-----------------------|br-b|---7/9-----------------9----X-----9-----9--10-------------0-----|br-G|---7/9-----9-------9------9-X--9-----9-------------9------0-----|br-D|----------------------------X-----------9-------------11\-------|br-A|----------------.-----------X-------------------0---------------|br-E|--------0-------0------0----X-----0-----------------------------|br/prebrbr(section C.1), It is important to let some of these notes ringbrhere and here, other places too, listen to the recordingbr| |brv vbrbrprebr-e|-------------0-----------------------------0--------------------|br-b|-----------------------0---------------0------------------------|br-G|---------------------------------1------------------------------|br-D|----0-----4-----0------------------------------------2----------|br-A|-------5------------4-----0---------2-------------------2-------|br-E|------------------------------0---------------------------------|br-e|--------0--------------------------------------------------------|br-b|-----------------------------------------------------------------|br-G|-------------------------------0---------------------------------|br-D|----4-------0-------------------------4--------------------------|br-A|----0-----------4-------0-----------------2----------------------|br-E|--------------------5-------0------------------------------------|br/prebr^could be a 2 on the sixthbrhere instead of 4 on the 4th,brI think he's harping, so 4.brThere's probably a morebraccurate way, hint hint.brlet 'D' ring of coursebr[/] brprebr-e|--------0--------------------------------0----------------------|br-b|------------------0------------------0--------------------------|br-G|------------------------------1-------------------------0-------|br-D|----4------0----------------------------------------2-----------|br-A|----0----------4-----0------------2-----------------------------|br-E|--------------------------0-------------------------------------|br/prebrbrrepeat A.1brrepeat A.2brbr(section D.1)brbrprebr-e|-------------------X---------------X-----------X----------------|br-b|-------------------X---------------X-----------X----------------|br-G|-------------------X---------------X-----------X----------------|br-D|-------------------X---------------X-----------X----------------|br-A|--------------2----X---2---2---2---X-------2---X-------2------2-|br-E|--0--0--0--0--0----X---0---0---0---X---0---0---X---0---0---0--0-|br/prebr|__| |__| | |___| |___| |___| | |___| |___| ?bryoubrfigurebrit outbrbr(section D.2)brbrprebr-e|----------------------------------------------------------------|br-b|----------------------------------------------------------------|br-G|----------------------------------------------------------------|br-D|-----------------------------0------------------0---------------|br-A|----------------------------------------------------------------|br-E|----1---1---2---2---3---3---------6/7---7---7-------------------|br/prebrbrrepeat D.1brbr(section D.3)brbrprebr-e|----------------------------------------------------------------|br-b|----------------------------------------------------------------|br-G|----------------------------------------------------------------|br-D|-----------------------------------------------------0----------|br-A|-----------------------------5----------------------------------|br-E|----1---1---2---2---3---3----5----6--6--7---7---5---------------|br/prebrbr(section E.1)brbrprebr-e|------------------------------------------5-----------------------------------------------------------------------------------|br-b|-----------------0-------0----7---------------0----------6--------------------------------------------------------------------|br-G|-------0----------------------7--------5--8---0----------7---D|---------------------------------5--7-----------------6-----6--|br-A|------------3-------0---------------------------------------------------------------------------------------------------------|br-E|---3----------------------------------------------0---------------------------------------------------------------------------|br-e|---------8------------------------------------------------------|br-b|----5--------------5----5/8-----7/9-----------------------------|br-G|----5---------7---p5------------7/9-----------------------------|br-D|----------------------------------------------------------------|br-A|----------------------------------------------------------------|br-E|----------------------------------------------------------------|br/prebrbrrepeat B.1, B.2, B.1, B.3brrepeat C.1brrepeat A.1brbr(section F.1)brbrprebr-e|-----------0------2-----3------------------------0--------------|br-b|-----------0------3-----3------------7-----------------5--------|br-G|-------0---0----------------7--------7--------------------------|br-D|---------------------0------------------------------0---------0-|br-A|---------------------------------5-------5----0------------5----|br-E|----3----------2------------------------------------------------|br/prebr^barre here.brbrbrprebr-e|----------------------------0----------7------------------------|br-b|-----------7\---------------0----------7------------------------|br-G|-----------7\------------0---------4------0----------6-------7--|br-D|------------------0------------0---------------------7---0-0----|br-A|-------0--------0-----------------------------------------------|br-E|----5-----------------3------------------------0--0-------------|br/prebr^^^^strumbreverythingbrhere if youbrlike.brbrbrprebr-e|-------------------0------0-------------------------------------|br-b|----------------7---------------5-----------------7\5-----------|br-G|-------7--------7--7------------------------------7\5-------7---|br-D|----7--------7---------------0---------0-------7---------7------|br-A|----------5------------0------------5------0--------------------|br-E|-------------------------------------------0--------------------|br/prebrbr(section F.2) (section F.2 alternate)brbrprebr-e|-------0----------/5-5-5---5\-|------1---1-------------8----8\--|br-b|----------------0-/5-3-3---3\-|--------------0---------5----5\--|br-G|---0--------0------------0----|--------0---0-----/7--0----0-----|br-D|-----0--------0---------------|---------------------------------|br-A|------------------------------|---------------------------------|br-E|-3--------3-------------------|-1-------------------------------|br/prebrbr(section G.1) ?brbrprebr-e|---------------------------------------------------0-------------|br-b|-----------------------------------------------------------------|br-G|---------------------------------------------------------------0-|br-D|--0--2--2----2-----2-2----2-----2---2----------------------------|br-A|-----0--0----0-----0-0----0-----0---0--1-1-2-2-3-3-5-5-6/7-7-7---|br-E|-----------0-----0------0-----0---0------------------------------|br/prebr^weird ghostly overtones herebr?brbrprebr-e|------------------------------------------------0---------------|br-b|------------------------0---------------------------------------|br-G|--------2-X-------X--2--0---------------------------------------|br-D|-----2--2-X---2-2-X--2--0----2---2--------------------------9\--|br-A|-0-0----0-X---0-0-X--0--0----0---0--1-1-2-2-3-3-5-5-6/7-7-7-7\--|br-E|----------X-0-----X--------0---0--------------------------------|br/prebrbr(section H.1) -- strum it! with your thumb and index.brfffbrbrprebr-e|-----------------2-----3------3---------------------------------|br-b|----0------2-----3-----0------0---------------------------------|br-G|----1------2--0--2p0---0------0---------------------------------|br-D|----2---0--2-----------0---------2p0----------------------------|br-A|----2------0-----------2----------------------------------------|br-E|----0------------------3---3------------------------------------|br/prebrbr(section I.1)brmfbrbrprebr-e|---------------0------------------------------------------------|br-b|------5-3-------------------------5\------3---------------------|br-G|------5-3-----------------5-------5\---2------------------------|br-D|----5---3-----------0----------5--5\----------------------------|br-A|--3---------------5----3----------------------------------------|br-E|-----------3----------------3-----------------------------------|br/prebrbr(section I.2)brbrprebr-e|------------------------------------------------5---------------|br-b|--------3---------------0--------0------5-------5---------------|br-G|--------3------2p0---------------0------5-------5---------------|br-D|-----3-----0--------3-------------------5-------5---------------|br-A|-------------------------------------3-------3------------------|br-E|--1--------------------------3---------------3------------------|br/prebrbrrepeat I.1brbr(section I.3)brbrprebr-e|------1---1-------------8----8\------|br-b|--------------0---------5----5\----3-|br-G|--------0---0-----/7--0----0-----2---|br-D|----3--------------------------------|br-A|-------------------------------------|br-E|-1-----------------------------------|br/prebr( Tab from: http://www.guitartabs.cc/tabs/l/leo_kottke/eggtooth_tab.html )brhere slide 5 to 8 don't pickbr/ (pick 12 tho)brbrprebr-e|---------------5--X--------8-------12--12\----------------------|br-b|------5-X------5--X-----5-----5/---/8---8\----------------------|br-G|------5-X---------X--0-----------0------------------------------|br-D|----5---X---------X---------------------------------------------|br-A|--3-----X---------X---------------------------------------------|br-E|-----------3------X---------------------------------------------|br-e|----------------------------------------------------------------|br-b|--------1p0-----------------------------5\----------------------|br-G|-----0------2p0-------------------------5\----------------------|br-D|--2-------------2p0----------5-------5--------------------------|br-A|--------------------2p0----------3------------------------------|br-E|-------------------------3--------------------------------------|br/prebrbrrepeat D.1, D.2, D.1, D.3brbr(section I.4)brbrprebr-e|-----------------2-----3------------------------0---------------|br-b|-----0-----0-----3-----3---------7----------9---0---------------|br-G|-----0--0--0---------------------7----------9-------------------|br-D|-----0--0-----------0---------7-----0---------------------------|br-A|---------------------------5------------------------------------|br-E|--3-----------2-------------------------0-----------------------|br/prebrbrrepeat B.1, B.2, B.1, B.3brrepeat Crepeat A.1, A.2, A.3, A.2brbr(section J.1) -- bridgebrbrprebr-e|------------5---------------------------------------------------|br-b|--1/2-------------14\---2---------------------------------------|br-G|---------X--------14\---0---------------------------------------|br-D|-------X----------------2-----2-------2-2-2-2-------------------|br-A|--0---------------------1-----3-3-3-3-3-3-3-3-------------------|br-E|------------0---------------------------------------------------|br/prebr^^^^^^^build momentumbrbr(section K.1)brfastbrffbrbrprebr-e|-------------------------0-----0--------------------------------|br-b|---------------------------0-----0------------------------------|br-G|-----------2------0----------------0----------------------------|br-D|--------0-------0------------2----------------------------------|br-A|---3\2----------------------------------------------------------|br-E|--------------2-------3-----------------------------------------|br-e|--------------------------------2-------------------------------|br-b|-----------------------------------3----------------------------|br-G|-----------2---------0---h2--2--------0-------------------------|br-D|--------0---------0---------------------------------------------|br-A|---3\2----------------------------------------------------------|br-E|---------------2------------------------------------------------|br-e|-------------------------0-----0--------------------------------|br-b|---------------------------0-----0------------------------------|br-G|-----------2------0----------------0----------------------------|br-D|--------0-------0------------2----------------------------------|br-A|---3\2----------------------------------------------------------|br-E|--------------2-------3-----------------------------------------|br/prebrbr(section K.2)brbrprebr-e|----------------------------------------------------------------|br-b|-----------2/3--------------------------------------------------|br-G|----------------------------------------------------------------|br-D|--------0-------0-----------------------------------------------|br-A|---3\2----------------------------------------------------------|br-E|--------------------3-------------------------------------------|br/prebr^hold for a few seconds, continue...brrepeat K.1brbr(section K.3)brbrprebr-e|----------------------------------------------------------------|br-b|----------------------------------------------------------------|br-G|-----------2---------0------------------------------------------|br-D|--------0---------0---------------------------------------------|br-A|---3\2----------------------------------------------------------|br-E|---------------2---------2/3------------------------------------|br/prebr^hold for a few seconds, continue...brbr(section L.1)brbrprebr-e|--------5-------------------------------------------------------|br-b|---5/7-------7\-------------------------------------------------|br-G|----------0---------0-------------------------------------------|br-D|---0-------------0----------------------------------------------|br-A|----------------------------------------------------------------|br-E|----------------------------------------------------------------|br/prebri m p i p ibrpbrbrrepeat L.1, L.1brbr(section L.2)brbrprebr-e|---0-------0----------------------------------------------------|br-b|---1-------1------0---------------------------------------------|br-G|----------------------------------------------------------------|br-D|-------2------2-------------------------------------------------|br-A|-------3------3-------------------------------------------------|br-E|----------------------------------------------------------------|br/prebr| |___| |___|brbr(section L.3)brbrprebr-e|-----------0-----0--------------0-----0-------------------------|br-b|--------3-----3-----0--------3-----3-----0----------------------|br-G|---2/4------------------2/4-------------------------------------|br-D|----------------------------------------------------------------|br-A|----------------------------------------------------------------|br-E|----------------------------------------------------------------|br-e|-----------5-----5------5-------5------5-------------------------|br-b|--------3-----3-----3-------0------0------0----------------------|br-G|---2/4------------------0----------------------------------------|br-D|--------------------------------4------3-------------------------|br-A|-----------------------------------------------------------------|br-E|-----------------------------------------------------------------|epeat L.1,br/prebrL.1, L.1, L.2brbrbrprebr-e|-----------0----5/7---------------------------------------------|br-b|--------3------------------5--------0---------------------------|br-G|---2/4---------------------5--------0---------0-----------------|br-D|----------------------------------------------0-----------------|br-A|----------------------------------------------------------------|br-E|-----------------------3----------3---------3-------------------|br/prebrbrrepeat K.1, K.3brbrbrprebr-e|------5--------------------5-------------------5----------------|br-b|---7--------7----------7---------7----------7--------7----------|br-G|---------5---------5----------5--------5----------5--------0----|br-D|---0-----------7-------0------------7-------0-----------7-------|br-A|----------------------------------------------------------------|br-E|----------------------------------------------------------------|br/prebrbrrepeat L.2brbr(section M.1)brbrprebr-e|-----------0---5/7----------------------------------------------|br-b|--------3----------------5-------0----------------------0----0--|br-G|---2/4-------------------5-------0---------0------------5----5--|br-D|------------------------------0------------4------7-------------|br-A|----------------------------------------2------5-----7-----7----|br-E|---------------------3---------------0--------------------------|br/prebrbr(section M.2)brbrprebr-e|--------------5/7-------0---------------------------------------|br-b|------0--------------5-----4b5/12-------------------------------|br-G|------0---------------------------12\11--7-9-7-9-10-9-7---------|br-D|--------------------------------------------------------9-------|br-A|---5------------------------------------------------------9\----|br-E|----------0-----------------------------------------------------|br/prebrbrrepeat K.1, K.3brget louder...brbrprebr-e|-------0--------0-----------------------------------------------|br-b|----3--------0--------------------------------------------------|br-G|----------0-----------0----0--0--0--0--0------------------------|br-D|-------------------0-------0--0--0--0--0------------------------|br-A|----------------------------------------------------------------|br-E|----------------------------------------------------------------|br/prebrbrrepeat L.1, L.1, L.1, L.2, L.3, L.1, L.1, L.1, L.2brrepeat M.1brrepeat K.1, K.3, K.1, K.3 -- strummed loudly, use thumb and indexbrbrbrprebr-e|------5-----7---8\7---5----------------------5-4\3p0------------|br-b|--5/7-----7---7---------7\0---------2h3p2------------3p0--------|br-G|--------7-------7-------------------2---2-0---------------------|br-D|--0---------0-------0------------2---h4p2--------0---0----------|br-A|------------------------------0-----0------------0---0----------|br-E|----------------------------------------------------------------|br/prebrp ibrbrrepeat K.1, K.3, K.1, K.3 -- strummed loudlybrbrbrprebr-e|-------------12--------------------0-----------------------0----|br-b|------10----------X-X-X-7/9-----------------0------------0------|br-G|----------9-------X-X-X-7/9-------------------------1-----------|br-D|---------11-------X-X-X------0---4----0-------------------------|br-A|---0---------------------------5---------\4----0-------2--------|br-E|--------------------------------------------------0-------------|br/prebrbrstrum with gusto dum dum!brbrprebr-e|-------------------------------------------1---1----------------|br-b|------------------2---0----0-0-0----2---0--3---3----------------|br-G|-----0-----2------2-2-0----1-1-0----2-2-0--1---1----------------|br-D|---2--------------2-2-0----2-2-0----2-2-0--0---2----------------|br-A|--------0------0----0------2-2-0--0---0-------------------------|br-E|-------------------------0--------------------------------------|br/prebrbrstrum... dum dum!brbrprebr-e|----5------------3---2----------------------------0-------------|br-b|----2-2-0--------0---3----2--0--------0----2--------2---2-------|br-G|----2-2-0----1---0---2------------1------------1------------1---|br-D|----2-2-0----2---0---0----------------------------------------2-|br-A|--0----------2----------------------2--------2--------2-------2-|br-E|-----------0--------------------0--------0--------0-------0-----|br/prebrbrrepeat F.1, F.2 alternatebrbrbrprebr-e|-------------------------0--------------------------------------|br-b|------0--------5--3------------------------------5\3------3-----|br-G|---2-p0--------5--3-------------------5----------5\3---2--------|br-D|------------5-----3------------0-------------5---5\3------------|br-A|---------3------------------5-----3-----------------------------|br-E|---------------------3-------------------3----------------------|br/prebrbrrepeat F.2 alternatebrbrbrprebr-e|-------------------------5----------8--8/--/12--15\-------------|br-b|------0--------5--X------5---X--X---5--5-----8--13\-------------|br-G|--2--p0--------5--X----------X--X---5--5--0---------------------|br-D|------------5-----X----------X--X---5--5------------------------|br-A|---------3------------------------------------------------------|br-E|---------------------3------------------------------------------|br/prebrp ibrbrbrprebr-e|----------------------------------------------------------------|br-b|--1p0---------------------------5\------------------------------|br-G|------2p0-----------------------5\------------------------------|br-D|----------2p0---------5------5----------------------------------|br-A|--------------2p0--------3--------------------------------------|br-E|------------------3---------------------------------------------|br/prebrbrplay Emaj in first position, real loud, flamenco-ish if you likebrfor about five seconds...then strum the followingbrbrbrprebr-e|-----------------------------------------------------------------|br-b|------------------2---0----0-0-0----2---0------------------------|br-G|------------------2-2-0----1-1-0----2-2-0------------------------|etc...indefinitely...br-D|------------------2-2-0----2-2-0----2-2-0------------------------|br-A|-------3\2-----0----0------2-2-0--0---0--------------------------|br-E|-------------------------0---------------------------------------|br-e|----------------------------------------------------------------|br-b|----------------------------------------------------------------|br-G|--increase speed...make your way back to E, then try -----------|br-D|----------------------------------------------------------------|br-A|----------------------------------------------------------------|br-E|----------------------------------------------------------------|br-e|---------------------------0-----0-X----------------------------|br-b|---------------------------0-----0-X--14-X----------------------|br-G|--a flamenco-ish ending:---2\----1-X--14-X----------------------|br-D|---------------------------3\----2-X----------------------------|br-A|---------------------------3\----2-X---------0-X----------------|br-E|---------------------------0--0--0-X----------------------------|br/prebrbrA Note on Kottke's Usebrbrprebr----------------------br/prebrWell, if you made it this far, you might enjoy these comments.brFiguring out how Kottke plays with the speed and precision that hebrdoes is the reason for offering the following analysis. It's notbrsome learned study or some scholarly criticism. It's just a fewbrremarks off the cuff about what I have learned based on my year'sbrworth of Alexander Technique lessons.brbrLooking at pictures of Kottke, seeing him live, and seeing _Homebrand Away_(which tends to fall flat compared to his live performance),brI don't see anything exceptional about the way Kottke uses himself.brIn fact, he's about average. In fact, it was his chronic misusebrwhich led to his injury in the early eighties(I think). Let's just saybrhe does not use himself as well as do classical players like Segovia.brbrHowever, aside from his massive forearms, his musicianship,brand his dedication, a couple of things are alluded to in Home And Awaybrthat are worthy of observation. One is his light-hearted manner. Notbrhis jokes. His manner. He takes himself lightly and has fun. Hebrbreathes well and slyly alludes to breathing deeply before walking outbron stage. During his performance, he talks while playing. Althoughbrhe presents it as a joke, it surely starts up good breathing,brfrees up his chest and ribcage, and therefore his arms...he isbrsurely gearing up for the dynamite version of Airproofing whichbrfollows. This is straight out of Alexander work, talking whilebrplaying or practicing. It's hard to get yourself to try it, letbralone do it successfully.brbrHis hands are worth a look--they are precisely and lightly controlled.brOne word: rhythm. He does seem to possess a great deal of poisebrwhere his hands are concerned. The last thing in his favor is probablybrthe way he sort of grooves out to the tune while he's playing--his headbris always loosely bobbing around and his legs are always moving.brbrOtherwise, he totally collapses his back and gives in to gravity.brAnd he seems to have three speeds in terms of the poise he maintains.brThere's low, or Ojo speed, top of head fairly leading, spine fairlybrerect, but shoulder use still awful. Then there's medium, or MonabrRay speed, where there's still some good use but less. Then there'sbrhigh speed, or Airproofing speed. Here he has completely given inbrto gravity and scrunched down to meet the instrument. His shouldersbrhave been drawn up to his ears. You can literally see the thumb musclebron his right hand palm completely pumped up and tense. He losesbrhis good tone a couple times because of this tension. He kicks thebrfloor and moves his legs around to try to get himself loose again.brI saw him play in 1991, and he looked better, as I remember.brbrThe mistake is believing that more speed requires more effort,brwhich is not the case. In fact, direct attempts to do anythingbrlike virtuoso playing are inherently limited. What works arebrindirect, generative approaches that involve reasoned use of thebrwhole organism, specifically the relationship of the head to neckbrand back(spine).brbrDuring the course of tabbing this song I adopted a modified classicalbrposition, with a very short strap to hold the guitar where I need itbr(I'm a tall guy and can't scrunch over to get close to the instrument).brI bring the neck to my face instead of leaning with my neck over tobrsee it. I nod subtly to see the neck if I have to. My left leg isbrin the high rung on the stool, my right on the low rung(reverse forbrlefties). This allows my right shoulder to be more comfortable. Itbralso allows the left arm and hand an easier access to the fretboard.brWith the arms thus given easier access to perform their function,brthe elbows and shoulders and back may go out, opening up forbrbreathing, and by all means, breathe. I sit on my sitting bonesbrand not on my tailbone(if I did slump back onto my tailbone,brthis would mean my entire pelvis would be tilted back, throwingbroff my lower back leading to a hunched position with neck forwardbrand chin leading...very common and very bad).brbrThis is a reasoned out position as best I can do means-wherebybrreasoning at the moment. The position felt very open to mebrwhen I started using it. It felt great and looked great. I doubtbrKottke would need to talk at all if he used himself in this way.brIt would just look good.brbrOnce the mechanics of doing this have been fiddled around withbrit's time for the all-important directions. There are three.brBut wait, not yet, not yet, before saying the directions, youbrfirst say NO to the stimulus--whatever you were going to do,bryou are now just not going to do it--picking out that passage,brgoing for the car door, looking in the rear view mirror, openingbrthe refridgerator door--inhibit all initial response to carryingbrout these tasks. Then say or think:brbr1) Let my neck be free...br2) To let my head move forward and up(or out)br3) Let my back (be free to) lengthen and widen(in spirals)brbrThat's it. Begin to go into activity, but wait...pause. Decide afreshbrwhether or not you are going to continue with the activity, redirectbrwith the directions, then continue if you decide to do so. Observebryourself. Don't look for things to feel right.brbrYou're attempting to get out of your own way. There is no substitutebrfor a certified Alexander Teacher in this work. They've worked onbrthemselves for at least four or five years and have been to specialbrschools that do thorough training.brbrIn my experiments, my habit of pulling up with my chest and shorteningbrand narrowing in my back took over with this new classical position,bras a consequence I got a pain in the middle back. I've got some prettybrentrenched habits. I'm not really well acquainted with my back yet--brit's much wider than I usually think, and I don't yet have a goodbrsense of where my arms join my back(obviously an important sense).brHave to ease up on the chest, let it go, soften it, and begin tobrbreathe.brbrBreathing is where everything gets held up. If breathing is good,brarms are remarkably free. Rib cage must be soft and free to expandbrand contract with each breath.brbrAnd remember, this is supposed to be fun! By all means takebrthis stuff lightly--there are no shoulds.brbrFinger Independencebrbrprebr-------------------br/prebrA couple of finger independence exercise books have come out.brThey're all good to do. It's good to treat your hands well.brHowever, I often attempt to achieve results too fast with thebrexercises, with the actual result being that tension quicklybrtravels up my arm and then to my neck and gets held there in mybrneck(or does it start in my neck?). The problem is that I'mbrjust throwing my fingers around using odd combinations of musclesbrin my forearms, and my fingers aren't really getting the workout.brThey're really just getting forced and harmfully stretched inbrdirections they'd just as soon not go. That's the bad news. Thebrgood news is that it'll take less straining on my part to dobrthe exercises in a way that will be much more beneficial tobrmy hands. The key is to do them SLOWLY. The exercises arebran exploration of my hands--not a set of positions to drillbrthrough at any cost. Do the exercises slowly. There's just nobrpoint in going fast. You can go fast later if you want, butbrfor now, go slowly and be relaxed and competent. Observe thebrtension if it begins to travel up your arm to your neck and thenbrjust pause, redirect, decide again to move slowly and relaxed.brObserve without judgement the places where your fingers get stuck,bror where they start shaking.brbrThe End.brbr[--]The time has come to talk of many things: of shoes--brbrprebrand ships--and sealing wax--of cabbages--and kings.br/prebrbrMy dear guests, I am Mister Rork, your host.brWelcome to Fantasy Island... ;^( :-{) p If you want to learn Leo Kottke Eggtooth guitar chords, The 5 chords we'll look at are the C major, A major, G major, E major, and D major. The reason we use all major chords is that the minor versions of any of these chords just require tiny adjustments. Each one of those minor chords is completely based on its major counterpart /p p The more you practice, the easier guitar will feel to play Eggtooth. Guitar is hard to learn in the beginning, but gets easier the longer you stick with it. /p p If you are looking for In Her Arms guitar chords, you've come to the right place. You can play In Her Arms by Foxes using guitar or guitar. This song by Foxes can also be played by that instruments. =/p p In Her Arms guitar chords has rhythm and included in Other Songs album. You can also find another musical genres, including jazz guitar chords, country music guitar chords, pop guitar chords, world music guitar chords, and rock guitar chords here. /p h3In Her Arms by Foxes Guitar Chords/h3 [Verse 1]br[Em]I've been dreaming of abr[Em]I've been dreaming of a [G]heart that lies[Am]br[Em]You've been looking at mebr[Em]You've been looking at me [G]eye to eye[Am]brbr[Pre-Chorus 1]brTake it [Em]easybrAnd lift your feet up off the [G]burning ground[Am]brAnd you don't [Em]see itbrG N.C.brYou get so high because you don't look downbrbr[Chorus]brShe wants to [Em]hold you in her [G]arms[Am]brShe wants to [Em]tear you away from my [G]heartbrDoes she light [C]up like a lanternbrTo [G]show you the way through the [Am]dark?brDoes she give [C]you what you're missing?brIt's [G]more than enough what we [Am]arebrIn her [Em]arm[C]s,[G] in her arms[Am]brIn her [Em]arm[C]s,[G] in her arms[Am]brbr[Verse 2]br[Em]You've been leaving mebr[Em]You've been leaving me a[G]lone at night[Am]brBut in my em[Em]pirebr[Em]I am king and I [G]own the sky[Am]brbr[Pre-Chorus 2]brWhile you're [Em]sleepingbrNow the bed you made is [G]burning down[Am]brKeep [Em]breathingbrG N.C.brAll the birds you caged are breaking outbrbr[Chorus]brShe wants to [Em]hold you in her [G]arms[Am]brShe wants to [Em]tear you away from my [G]heartbrDoes she light [C]up like a lanternbrTo [G]show you the way through the [Am]dark?brDoes she give [C]you what you're missing?brIt's [G]more than enough what we [Am]arebrIn her [Em]arm[C]s,[G] in her arms[Am]brbr[Bridge]brLet there be [Em]smoke in my eyesbrIt stops me [G]breathing[Am]brI see her [Em]arms open widebrIt stops me [G]breathing[Am]brbr[Intsrumental] (x2)br[Em] [Em] [G] [Am] br[Chorus]brShe wants to [Em]hold you in her [G]arms[Am]brShe wants to [Em]tear you away from my [G]heartbrDoes she light [C]up like a lanternbrTo [G]show you the way through the [Am]dark?brDoes she give [C]you what you're missing?brIt's [G]more than enough what we [Am]arebrIn her [Em]arm[C]s,[G] in her arms[Am] p If you want to learn Foxes In Her Arms guitar chords, The 5 chords we'll look at are the C major, A major, G major, E major, and D major. The reason we use all major chords is that the minor versions of any of these chords just require tiny adjustments. Each one of those minor chords is completely based on its major counterpart /p p The more you practice, the easier guitar will feel to play In Her Arms. Guitar is hard to learn in the beginning, but gets easier the longer you stick with it. /p