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Donald Fagen: guitar tab and chords for New Frontier, The Nightfly


    New Frontier - Donald Fagen
    ---------------------------
    
    From the album "The Nightfly"

    Transcribed by Howard Wright [hakwright (at) gmail (dot) com]
    and Chris Davis [theaceofbass (at) hotmail (dot) com]


Notes:
-------

Many thanks to Chris Davies for sending me his transcription of 
this song and getting this started. I've made some changes here and 
there to chord voicings and names, but a lot of the chord shapes  
are as Chris sent them. Most of what I've done is to expand out
what Chris sent to fit my usual format.

I've also added some tablature for the superb solo by Larry Carlton
(some of his finest guitar work is to be heard on this album).

Nearly all of the chord sequences in the song translate comfortably
over to the guitar. The main exception is with the first two chords
at the start of the intro - the chord shapes themselves are easy
enough but it's hard to change between them at the required speed. 
Pretty much all of the other chord changes work fine on the guitar.

The chord names G#m/B, F#m/B, Bm/D, Am/D etc describe the required 
voicings nicely, but you'll probably hear these chords as 6 and 9 
chords. For example G#m/B is a B6 chord (with no 5th) and F#m/B is 
a B9 chord (with no 3rd). So the opening sequence is essentially B6
B9 D6 D9. Using the "minor triad with bass note" name makes this
sequence of 6 and 9 chords a bit less obvious, but it does give
a fairly neat way to specify the correct chord voicings without
having to write (no 5th), (no 3rd) etc..

In the intro and outro sequences there's an extra chord squeezed 
in between the F#6 and A/B. The chord is an E/F#, but the change
from this to the A/B is too quick to be manageable on the guitar.
I've just left this E/F# chord out, though you could try playing
just the top G# note before the A/B to give a hint of the change.

The usual tab symbols apply:
b = bend up
r = release bend
p = pull-off
h = hammer-on
/ = slide
vib = vibrato

Intro
------

G#m/B  F#m/B  Bm/D  Am/D 

C#m7  F#6  A/B 

A/E  E7(no 3rd)   A/E  E7(no 3rd)

G#m/B  F#m/B  Bm/D  Am/D

C#m7  F#6  A/B 

Em7  E7  E7sus4  E7


This last sequence of Em7/E7/E7sus4 is played as:

E------------------------------------------
B--------3-----3----------3-----3----------
G-----0-----1----1-----2-----1----1--------
D------------------------------------------
A------------------------------------------
E--0-----------------0---------------------


Verse
------

                      F#m/A Em/A
Yes we're gonna have a wing-ding 

                          Em7 E7 E7sus4 E7
A summer smoker underground 

                          F#m/A Em/A
It's just a dugout that my dad built 

                           Em7                  E7 E7sus4 E7
In case the reds decide to push the button down 

Amaj7                    D9b5
We've got provisions and lots of beer 

   C13sus4  C7   C13sus4          A/E  E7(no 3rd)
The key   word is survival on the new frontier 

A/E  E7(no 3rd)


Verse 2
--------

(chords as verse 1)

Introduce me to that big blonde 
She's got a touch of Tuesday Weld 
She's wearing Ambush and a French twist 
She's got us wild and she can tell 
She loves to limbo, that much is clear 
She's got the right dynamic for the new frontier 


Bridge
-------

Db/Eb  D/E  Dmaj7/E  D/E         Eadd9#5     Amaj7*
 Well   I    can't   wait 'til I move to the city 

Amaj9/E  Dmaj7     D#7b9       G#m7                     
           'Til I finally make up my mind 

   C#7#9#5          F#m7  C9b5(no 3rd)  A6/B
To learn design and study over   -   seas 

       Bb9b5(no 3rd)
Do you have a steady ...


Verse 3
--------

(chords as verse 1)  

... boyfriend 
Cause honey I've been watching you 
I hear you're mad about Brubeck 
I like your eyes, I like him too 
He's an artist, a pioneer 
We've got to have some music on the new frontier 


Solo
-----

(chords same as verse except for Em7/E7 section)

This is probably one of Larry Carlton's finest moments.
A superb solo, built on simple blues phrases - but what
phrases! The solo is also a great example of how to use
dynamics. It's really worth listening to the solo a few
times over while just focussing on the dynamics used. A
lot of the solo is played at a soft dynamic, which makes
the small number of strongly accented notes really have
an impact. 

There are also quite a few places where a rapid slide up
the fretboard is used to finish a note off. These are marked
in the tablature as a slide up with no end fret noted 
(e.g. --14/--). Quite often the note is held for a short time
before the finger is zipped up the neck. These aren't played 
very loudly, but they give a nice end to some of the notes.

F#m/A  Em/A

     hold bend.....|
E---------------------------------------------------------------
B---------------------------------------------------10----------
G-12b14-14--14--14r12p9--------------------------------/14--14/-
D------------------------12b13-12-10----9------9/11-------------
A------------------------------------12---9-12------------------
E---------------------------------------------------------------


    Em7       E7
                    vib.....

E--14b15b16------12-12-12-12/-------------
B-------------15--------------------------
G-----------------------------------------
D-----------------------------------------
A-----------------------------------------
E-----------------------------------------
  ^^^^^^^^^
Bend this note up in two stages - the first semitone bend
is fast, then you hold the bent note for a while, then bend
up another semitone a little before the note finishes. 


F#m/A  Em/A    

E--------------------------------------------
B-------12b13--10-------10-12b13b14--10------
G-----------------12b14----------------------
D--------------------------------------------
A--------------------------------------------
E--------------------------------------------


                 E7sus4   E7

E------------------------------------------
B------------------------------------------
G-12p9----9------------------11b13-11p9--9-
D------12----10h11--12b14------------------
A------------------------------------------
E------------------------------------------


   Amaj7             D9b5

E-------------------------------------------
B--------------------10b12r10p9-------------
G--11b13r11p9--11--9------------------------
D--------------------------------9b10r9-----
A--------------------------------------(10)-
E-------------------------------------------


C13sus4 C7 C13sus4     A/E E7(no 3rd)
                                      vib...
E----------------------------------------------
B-----------10----10---------------------------
G--------11----12----12-11b12--9---------------
D-----12-------------------------12b14-14/-----
A-(12)-----------------------------------------
E----------------------------------------------


               A/E  E7(no 3rd)

E-------------------------------------12------------
B--------9-10-11-12---------------------------------
G--11b13------------9--11b13-11b13--9---9-9-----9-9-
D--------------------------------------------12-----
A---------------------------------------------------
E---------------------------------------------------



Bridge
-------

(chords as before)

Well I can't wait 'til I move to the city 
'Til I finally make up my mind 
To learn design and study overseas 


Verse 4
--------

(chords as verse 1) 

Let's pretend that it's the real thing 
And stay together all night long 
And when I really get to know you 
We'll open up the doors and climb into the dawn 
Confess your passion your secret fear 
Prepare to meet the challenge of the new frontier 


Outro
------

G#m/B  F#m/B  Bm/D  Am/D  

C#m7  F#6  A/B 

A/E  E7(no 3rd)   A/E  E7(no 3rd)

(play 4 times)

Repeat 2 more times with extras:

(the octave jumps aren't really designed for the guitar 
but I've written them in anyway).

  G#m/B F#m/B    Bm/D  Am/D  C#m7       F#6   

E---7---5--5------7---5--5----4---16--4--2---14-------
B---9---7--7------7---5--5----5---17--5--4---16-------
G---8---6--6------7---5--5----4---16--4--3---15-------
D-----------------0------0---------------4------------
A-----------------------------4-----------------------
E---7------7------------------------------------------


     A/B        A/E E7(no 3rd)       A/E E7(no 3rd)

E--2--0---0-0--------------10-------------------------
B--4--2---2-2----2--3-3----8h9--3-----2--3-3----------
G--3--2---2-2----2--4-4---------0h1---2--4-4----------
D-----------------------------------------------------
A-----2---2-2-----------------------------------------
E----------------0--------------------0--0-0----------


            G#m/B F#m/B  Bm/D Am/D   C#m7 

E-------------7---5--5----7---5--5----4---5--4--------
B-------------9---7--7----7---5--5----5---5----5------
G-------------8---6--6----7---5--5----4---4------4----
D---6---7---8-------------0------0--------------------
A-------------------------------------4---------------
E-4---5---6---7------7--------------------------------


  F#6 F#aug A/B

E--2---2-----0----7------14--12-----------------------
B--4---3-----2-----7---------------12--10----7--5-----
G--3---3-----2------9----14--13----12--11-------------
D--4---4-------------9-------------12--12----7--6-----
A------------2----------------------------------------
E-----------------------------------------------------

                 ^^^^^^
     This bit should be played one octave higher, if
     you can manage it that high up the neck. 



Chord shapes
-------------

G#m/B      F#m/B       Bm/D       Am/D
7xx897     7xx675     xx0777     xx0555


 C#m7       F#6        A/B       
x46454     2x4342     x2x220    

^^^^^^     ^^^^^^
You could leave out the D-string note in the C#m7
chord and just play x4x454. Similarly, you can simplify
the F#6 shape by leaving out the F# on the bottom string.


 A/E     E7(no 3rd)   F#m/A       Em/A
0xx22x     0xx43x     x0x675     x0x453

^^^^^^^^^^^^^^^^^^
Best to use thumb and two fingers to play these two chords.


 Em7         E7       E7sus4     Amaj7  
0xx03x     0xx13x     0xx23x     5x77xx 


 D9b5       C13sus4          C7
x54554    8 x 8 10 10 x     8x898x


Db/Eb       D/E       Dmaj7/E    Eadd9#5
x6666x     x7777x     x77779     x7657x


Amaj7*       Amaj9/E       
5x665x     x 7 11 9 9 7    

           ^^^^^^^^^^^^
This chord is a bit of a stretch, though it does give
just the right sound. It's easier to use a slightly 
different voicing to make the chord change more
manageable, so try x7x697 or x7x657 instead.

Outside of the context of this song, these chord shapes
would probably be called E6. But coming after the Amaj7,
they function as a kind of extension and inversion of the 
Amaj7 sound, hence the name Amaj9/E.


Dmaj7      D#7b9       G#m7      C#7#9#5
x5767x     x6565x     4x444x     x43455


F#m7     C9b5(no 3rd)  A6/B     Bb9b5(no 3rd)
2x222x     x3x332     x2x222     x1x110

           ^^^^^^                ^^^^^^
You could add the third (2nd fret/open D string) to these
9b5 chords, but I prefer the slightly cleaner sound of the 
4-note voicings.




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Last updated: February 2013