King Crimson : Matte Kudasai
                    From verkuilen john v : jayv@uxh.cso.uiuc.edu
********************************************************************************

Also on variouscompilation CDs and _The Acoustic Adrian Belew_.

The song is in implied E major.  This is the arpeggiated rhythm part Fripp 
plays behind Belew's improvised slide guitar solos and the lyrics.  Listen
to the song to get how things fit together.  I play it kind of like Adrian 
on _The Acoustic Adrian Belew_.  The song is in three time, and really 
swings.  If you're playing it on an acoustic, it should sound decent.  If 
you're playing it on an electric, use a _very_ light distortion (mostly for 
warmth), light chorus/flange, a long delay, and compression.  It will probably
sound OK on a plain clean guitar with some reverb, but I thought I'd give you
the full list!  I recently saw Crimson live and verified my guesses, so I think 
this is pretty close.  


Intro:

[A verse with no words, Adrian solos in E major and its related modes with 
a slide.  He also puts lots of slide licks in when there are no words.]


Verse 1:

(Verse Riff)
Stare at the window pane,

(Verse Riff with alternate ending)
Stare at the rain that's falling.

Chorus:

(Chorus Riff 1a) 
She waits in the air,

Chrous Riff 1b)
Matte Kudasai.

(Chorus Riff 1a)
She sleeps in a chair,

(Chrous Riff 1c)

(Chorus Riff 2a)
In her sad America.

(Chorus Riff 2b)
[no lyrics]



Verse 2:

[same as Verse 1]

Long, long is the night alone,
Long, like the notes I'm sending.

Chorus




Verse Riff:  
                                                     (*)
________|__________|_____________|_____7-sl-4_|_____7-sl-4_|______________
________|__________|_____________|_____7-sl-5_|_____7-sl-5_|______________
________|______6__4|_______4___1_|_____6-sl-4_|_____6-sl-4_|______________
________|______6__4|_______4___2_|____________|____________|______________
________|__________|_______4___2_|____________|____________|______________
_0_2h3h4|_0_0______|__0__________|_0__________|__0_________|_0_2h3h4______


(*)  Fripp improvises on this bit, so try different things out.  Mostly 
triple stops.  e.g., 


  __5-sl-7__5-sl-7_|___
  __5-sl-7__5-sl-7_|___
  __4-sl-6__4-sl-6_|___
  _________________|___
  _________________|___
  0________________|__0  etc.      




  segue ->    Chorus Riff 1a                Chorus Riff 1b 
|_________|___________0________________|____________________________________|
|_________|_________2___2___2_______2__|____________________________________|
|_________|_______1_______1______1_____|_____[same pick pattern as previous]| 
|_________|____4______________4________|____________________________________|
|_________|____________________________|____________________________________|
|_0_2h4h3_|__2_________________________|__0_________________________________|


(Note:  this fingering is really tough.  I recommend doing stretching 
exercises before attempting it.  I recommend using a thumb fret for the 
bass string, but if you can finger it some other way, go for it!)


    Chorus Riff 1c  
|___________0________________|
|_________1___1______________|
|_______2_______2____________| 
|____4______________4________|
|_________________________0__|
|__2_________________________|


Chorus Riff 2a                              

|______________|_____________|____________|
|______10___9__|______9___7__|_____7___9__|
|______11___9__|______9___8__|_____8___8__|
|______11___9__|______9___7__|_____7___7__|
|_0____________|_0___________|_0__________|
|______________|_____________|____________|



Chorus Riff 2b  (this is a slightly modified version of the Verse Riff]


____________|_____________|_____7-sl-4_|_____7-sl-4_|______________
______7__5__|_____________|_____7-sl-5_|_____7-sl-5_|______________
______6__4__|_______4___1_|_____6-sl-4_|_____6-sl-4_|______________
______6__4__|_______4___2_|____________|____________|______________
____________|_______4___2_|____________|____________|______________
_0_0________|__0__________|_0__________|__0_________|_0_2h3h4__... [back to

verse]



From: jayv@uxh.cso.uiuc.edu (verkuilen john v)
Date: 18 Jul 1995 16:56:59 GMT
Subject: Re: TAB: Matte Kudasai by King Crimson--CORRECTION

jayv@uxh.cso.uiuc.edu (verkuilen john v) writes:

>Matte Kudasai, by King Crimson, from _Discipline_.  Also on various 
>compilation CDs and _The Acoustic Adrian Belew_.



NOTE:  I forgot to indicate that you need to play each measure twice on 
Chrous Riffs 1a and 1b.  Please edit the file accordingly, replacing the 
line titled "segue -> Chorus Riff 1a    Chorus Riff 1b" in the original with
the lines below.  

 

  segue ->    Chorus Riff 1a   
|_________|___________0________________|____________________________________|
|_________|_________2___2___2_______2__|____________________________________|
|_________|_______1_______1______1_____|_____[same as previous]_____________| 
|_________|____4______________4________|____________________________________|
|_________|____________________________|____________________________________|
|_0_2h4h3_|__2_________________________|____________________________________|



       Chorus Riff 1b 
|___________0________________|____________________________________|
|_________2___2___2_______2__|____________________________________|
|_______1_______1______1_____|_____[same as previous]_____________| 
|____4______________4________|____________________________________|
|____________________________|____________________________________|
|__0_________________________|____________________________________|




-- 
Jay					jayv@uxh.cso.uiuc.edu

Definition of a phallic symbol:  Something that's length exceeds its
breadth and of which your mother wouldn't approve.   


********************************************************************************
                              King Crimson: Matte Kudasai
                       By: Scott T. Lillis (sl4q+@andrew.cmu.edu) 
********************************************************************************

This song is in the Key of E in 6/8 with dotted quarter=70(per min.)
The central part of Bruford's rhythm is
Hi-Hat-|--x--x|--x--x|
Cymbal-|x--x--|x--x--|
       |^..^..|^..^..
[I'll leave out the part that Adrian does. And put just a guitar riff. 
But parts of it are done on Stick, like the bass notes. Actually all the
notes on the low A and E strings should be played an octave lower on the
bass.  Also let notes ring as long as possible]
|------|------|------|------|------------|
|------|------|---7-5|------|------------|
|---6-4|------|---6-4|--/6/6|------------|
|---6-4|---4-2|------|--/6/6|------------|
|------|---4-2|------|------|------------|
|0-0---|--0---|--0---|--0---|----0-2-3-4-|
|^..^..|^..^..|^..^..|^..^..|^ . . ^ . . |

|------|------|------|------|------------|
|------|------|---7-5|--/7/7|------------|
|---6-4|------|---6-4|--/6/6|------------|
|---6-4|---4-2|------|------|------------|
|------|---4-2|------|------|------------|
|0-0---|--0---|--0---|--0---|----0-2-3-4-|
|^..^..|^..^..|^..^..|^..^..|^ . . ^ . . |
                                          
|---2-0|------|---7-4|------------|--------0---|
|---2-0|------|---7-5|------------|------2---2-|
|------|---4-1|------|------------|----1-------|
|------|---4-2|------|------------|--4---------|
|------|------|------|------------|------------|
|0-0---|--0---|--0---|----0-2-4-3-|2-----------|
|^..^..|^..^..|^..^..|^ . . ^ . . |^ . . ^ . . |

|------------|--------0---|------------|--------0---|
|--2-------2-|------2---2-|--2-------2-|------2---2-|
|1---1---1---|----1-------|1---1---1---|----1-------|
|------4-----|--4---------|------4-----|--2---------|
|------------|------------|------------|------------|
|------------|2-----------|------------|0-----------|
|^ . . ^ . . |^ . . ^ . . |^ . . ^ . . |^ . . ^ . . |

|------------|--------0---|------------|--------0---|
|--2-------2-|------2---2-|--2-------2-|------2---2-|
|1---1---1---|----1-------|1---1---1---|------------|
|------4-----|--2---------|------4-----|----4-------|
|------------|------------|------------|------------|
|------------|0-----------|------------|2-----------|
|^ . . ^ . . |^ . . ^ . . |^ . . ^ . . |^ . . ^ . . |

|------------|--------0---|------------|
|--2-------2-|----------2-|--2-------2-|
|1---1---1---|------2-----|1---1---1---|
|------4-----|----4-------|------4-----|
|------------|------------|------------|
|----9---16--|14----------|------------|
|^ . . ^ . . |^ . . ^ . . |^ . . ^ . . |

|---5-4|---4-2|---4-2|------|
|---7-5|---5-4|---4-4|------|
|------|------|------|------|
|------|------|------|------|
|0-0---|--0---|--0---|--0---|
|------|------|------|------|

[It follow this basic pattern throughout the song. Though many of the
two-note chords are played at different octaves and/or inversions.]

********************************************************************************
                                King Crimson: Matte Kudasai
                               By: Uwe Hoppe (uwhopp@aol.com) 
********************************************************************************

         SOME NOTES ON KING CRIMSON'S "MATTE KUDASAI"
         ============================================

Scott T.Lillis has already transcribed the main riff from King Crimson's 
"Matte Kudasai". The following is therefore an attempt to transcribe 
most of the missing parts of that great, great song. As a matter of fact, 
Scott's transcription proved to be so helpful for me that I feel obliged to 
contribute something myself. I guess I have to apologize for the poor quality 
of the transcription but this is the first time I'm trying something like 
that, and my knowledge of musical theory really isn't worth talking about. 
Nevertheless, I hope that these notes are useful for some of your readers.
My comments on the song basically refer to the version found on "Discipline" 
(1981) as it seems to be the one which is better known than the one on 
"B'BOOM (Official Live Bootleg)". I personally prefer the live version
where Adrian's slide solo sounds much more confident. He is surely a hell of
a slide player and certainly one who avoids all of the cliches usually 
attributed to that style of playing guitar.



After the introductory drone in E (played either on a synth or guitar synth) 
the two guitarists play something like this:

Robert:
--------------------9-----I----------------9------------e
--------------------10----I---------------10----------- b
--------------------9-----I----------------9------------g
--------------------9-----I----------------9------------d
--------------------9-----I----------------9------------A
--------------------0-----I----------------0------------E



Adrian:                                 hold note, then slide up     
---16 / 12---14-----------I-----------------------------e
-------------------14-----I-----9/ 10---12 / ---9------ b
--------------------------I-----------------------------g
--------------------------I-----------------------------d
--------------------------I-----------------------------A
--------------------------I-----------------------------E


The penultimate note of this introductory phrase should be held 
until the riff starts that Scott has already transcribed.If you 
use a chorus pedal you get very close to the sound of the 
original recording. By the way, the very last part of the riff 
sounds a little fuller if you play it like this:


----------------------I------------------I--------------7--e
----------11-----9----I----------9----7--I-------7------9--b
-----------9-----9----I----------9----8--I-------8------8--g
----------11-----9----I----------9----9--I-------9------7--d
---0--0----0-----0----I----0----------0--I---0---------(0)-A
----------------------I------------------I-----------------E


After that Adrian starts doing what he's best known for: imitating 
animal noises on his guitar in a very realistic manner. The bird 
whistle phrase that he is doing is possibly best achieved by using 
the bridge pick-up (it seems that he is using the neck pick-up for 
most of the slide solo) and sliding up and down below the fretboard. 
As for my part, I could not figure out what exactly he is doing there.
Anyway, have a try and go for the really high pitched notes.

The second bit is based on the vocal line. Because of this, the phrasing 
is extremely important. Listen closely to the recording to hear which 
notes are emphasized, how long the notes are, where vibrato is added etc.  
It also seems that Adrian uses either a volume pedal or even the volume knob 
of his guitar to fade in notes. By the way, the whole line sounds very nice  
if you add some reverb and/or some delay.


---------------11--12 ------I---------------12/  14----12--12--e
--7/ 9--7/ 5-----------12---I--7/ 9---7/ 5---------------------b
----------------------------I----------------------------------g
----------------------------I----------------------------------d
----------------------------I----------------------------------A
----------------------------I----------------------------------E


-16/ 12---12---14--------------e
--------------------14---------b
-------------------------------g
-------------------------------d
-------------------------------A
-------------------------------E


------------------------I-12/  16---14---12----------e
--9-9--10/ 12-----------I--------------------13------b
------------------------I----------------------------g
------------------------I----------------------------d
------------------------I----------------------------A
------------------------I----------------------------E


----------12------------I-12/ 11---------------------e
-12/ 10-----------------I--------12---10/  9---------b
------------------------I----------------------------g
------------------------I----------------------------d
------------------------I----------------------------A
------------------------I----------------------------E


During the vocal parts Adrian uses small bits and pieces of 
the part described above. 
The final lick is something like this:


-----------------------------------e
-17/  16---16/  14-----14/  9------b
-----------------------------------g
-----------------------------------d
-----------------------------------A
-----------------------------------E


#----------------------------------PLEASE NOTE---------------------------------#
#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. #
#------------------------------------------------------------------------------#