R.E.M. - DISTURBANCE AT THE HERON HOUSE

Disturbance at the Heron House R.E.M. # {sot #----------------------------------PLEASE NOTE---------------------------------# {eot ##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. # # {sot #------------------------------------------------------------------------------## {eot #From: Scott A. Yanoff <yanoff@csd4.csd.uwm.edu> # #DISTURBANCE AT THE HERON HOUSE (published in NME (chordiearchive.chordie.com)

The intro features 3 guitars. Guitar1 is used to play the riff around the second fret. Guitar2 provides a powerchord accompanyment. Deep in the mix guitar 3 doubles the riff played by guitar1, but up an octive. This can be first heard halfway through bar 4. The verse sections are nominally the same. Guitar 1 has a clean sound and picks an arpeggiated Dsus2 pattern. Let the picked notes ring as you play them. Guitar 2 is distorted and plays powerchords, these should be allowed to sustain over t (tabfu.thudspace.net)

Disturbance at the Heron House R.E.M. E (Version 1) (Solo taken from Wayne Ellis' version) {Intro riff: {sot B-------------------------- G---2--0-4-2-2h4p2-(0)--0-| x 4 D-0-------------------2---| {eot Dsus2 {Peter is just picking through "They're going wild," the call came in a Dsus2 chord during the At early morning pre-dawn, then verses "The followers of chaos out of control They're numbering the monkeys The monkeys and the monkeys," The followers of chaos out of contro (zenandjuice.com)

The intro features 3 guitars. Guitar1 is used to play the riff around the second fret. Guitar2 provides a powerchord accompanyment. Deep in the mix guitar 3 doubles the riff played by guitar1, but up an octive. This can be first heard halfway through bar 4. The verse sections are nominally the same. Guitar 1 has a clean sound and picks an arpeggiated Dsus2 pattern. Let the picked notes ring as you play them. Guitar 2 is distorted and plays powerchords, these should be allowed to sustain over t (azchords.com)

The intro features 3 guitars. Guitar1 is used to play the riff around the second fret. Guitar2 provides a powerchord accompanyment. Deep in the mix guitar 3 doubles the riff played by guitar1, but up an octive. This can be first heard halfway through bar 4. The verse sections are nominally the same. Guitar 1 has a clean sound and picks an arpeggiated Dsus2 pattern. Let the picked notes ring as you play them. Guitar 2 is distorted and plays powerchords, these should be allowed to sustain over t (guitartabs.cc)

The intro features 3 guitars. Guitar1 is used to play the riff around the second fret. Guitar2 provides a powerchord accompanyment. Deep in the mix guitar 3 doubles the riff played by guitar1, but up an octive. This can be first heard halfway through bar 4. The verse sections are nominally the same. Guitar 1 has a clean sound and picks an arpeggiated Dsus2 pattern. Let the picked notes ring as you play them. Guitar 2 is distorted and plays powerchords, these should be allowed to sustain over t (guitartabs.cc)