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Rearview - Bad Suns
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Tabbed by: Asa Wentworth
Email me: asawentworth@yahoo.com
Tuning: Half-Step Down
the main riff repeats throughout almost the entire song, it's very simple.
[Intro]
0:00
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x6)
D#|---------------------7-7-----9-9--------------|
[Verse]
0:21
"You had your hair down..."
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x4)
D#|---------------------7-7-----9-9--------------|
[Chorus]
0:36
"Oh! Feel so far from home..."
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x6)
D#|---------------------7-7-----9-9--------------|
[Verse]
0:57
"That quarter moonlight..."
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x4)
D#|---------------------7-7-----9-9--------------|
1:12
F#|----------------------------------------------|
C#|-----------------------9--------11------------|
G#|---7-7-7-7-7-7-7-7----------------------------|
D#|-------------------7-7---7--9-9----9----------|
[Chorus]
1:15
"Oh! Feel so far from home..."
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x8)
D#|---------------------7-7-----9-9--------------|
[Solo]
1:44
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x4)
D#|---------------------7-7-----9-9--------------|
[Bridge]
1:58
F#|-------9--------------------------------------|
C#|--------------9------11-----------------------|
G#|---7-7---7------------------------------------| (x6)
D#|------------7---7--9----9---------------------|
[Chorus]
2:20
"Oh! Feel so far from home..."
F#|----------------------------------------------|
C#|---------9-9-----9-9-----9-9-----9-9----------|
G#|---11-11-----7-7------------------------------| (x12)
D#|---------------------7-7-----9-9--------------|
That's it! It's really easy. Hope it helps
Rate & comment!
| Bass Tabs |
|
| Title |
Rearview |
| Artist |
Bad Suns |
| Tablature Type |
ASCII Tab |
| YouTube ID |
DWVjrcHzbV8 |
Interactive Bass Tab Guide
Interactive bass tabs provide a better experience than ASCII tabs. With playback, loop, print features and a responsive display that follows the screen of your device.
Use these buttons to control the digital tab player.
| Symbol | Function |
|---|
| Move cursor to the first bar |
| Play interactive tabs |
| Pause playback |
| Loop |
| Print the tab |
| Zoom |
| Page | Switch between page and horizontal view mode |
How to Read Bass Tab: A Beginner's Guide
1. Understanding the Basics
a. Strings:
Bass tab consists of horizontal lines representing the strings of the bass guitar.
The lowest-pitched string (usually the E string) is at the bottom, and the highest-pitched string
(usually the G string) is at the top.
b. Numbers:
Numbers on the lines indicate which fret to play on a specific string.
For example, if you see "3" on the E string, it means you should press down the third fret on the lowest string.
2. Reading Bass Tab Example
In this tab:
- Play the note on the 1st fret of the E string.
- Play the open E string.
- Play the 3rd fret on the A string.
- Play the 1st fret on the A string.
G|-----------------|
D|-----------------|
A|---------3-------|
E|---1-1---1---3---|
3. Playing Techniques
a. Hammer-ons and Pull-offs:
Hammer-ons are represented by an "h" (e.g., 5h7 means play the 5th fret and hammer onto the 7th fret).
Pull-offs are represented by a "p" (e.g., 7p5 means play the 7th fret and pull off to the 5th fret).
b. Slides:
Slides are often indicated by an "/" or "\\" between two numbers (e.g., 5/7 means slide from the 5th fret to the 7th fret).
