This page is BELIEVEYOUME, vocal melody vs chord stack. It is one of the projects Brandon built and put online. The grown-up details are below, tap Grown-up mode to read them the normal way.
BELIEVEYOUME, vocal melody vs chord stack
Superseded, read with care
This early study book was built on the old auto-detector keys, several of which were later corrected. For example The Alligator settled on G major over the auto-detected G minor, and The Mutiny on B♭ major over the auto F♯. The vetted, definitive reading now lives in the book, v7, with the per-part evidence in the withheld-third audit. This page is kept only as history of the process.
Shiner, self-titled 2025. Each section: the vocal line against the chord and bass underneath, with spelled chords, Roman numerals, guitar tab, and bass tab. Chords and tab are read from the MIDI guitar and bass tracks; the vocal is parsed separately, excluded from chord detection. Source MIDI files cited per card; T7 exports (e.g. Shiner-The Alligator-05-05-2026.mid) and FROMCDN downloads.
How to read these sheets
Shiner builds heavy songs from plain materials: power chords, pedal tones, repeated hooks, bass roots. The craft hides one layer down. The guitars leave the third of the chord open, so the band never states whether a chord is major or minor. The upper line, the voice or the lead guitar, supplies that third and the rest of the color. The bass then changes what a single pitch means as it moves underneath, so one held note can be a major third over one root and a fifth over the next while the singer stays still. The work of this book is to separate those three layers, bass, guitars, and top line, so a chart that looks simple turns exact.
Every sheet keeps two lanes apart. The chart lane (green) is what the chord-lyric sheet proves: key center, rough chord placement, section labels, lyric anchors. The MIDI lane (purple) is what the parse reveals: the real pitches, the intervals, the voicings the chart never prints. A claim stays in its lane. When the chart and the MIDI disagree, both appear, and the MIDI reading is marked as a reading, not slipped in as a fact.
What each song can prove
Full vocal-function, proven Asleep In The Trunk and Broken Satellites both have a confirmed vocal track, so the sheets can say what the voice does against the chord. Asleep is the clearest case on the record: the voice reaches A natural over F, the major third the guitar withholds, inside a song that otherwise pulls minor, and in the F-pedal section that A rubs against the guitar's A♭. Broken Satellites is next: a single D that is the major 7th over E♭, then the root over D5, then the 6th over F, one pitch doing three jobs as the bass walks.
Corrected vocal-function The Alligator rides B and C, not G. Over the G-centered chord the sung B is the major third the guitar leaves out, and C is the suspended pressure above it. The earlier G reading was an error and has been removed.
Melody export, sparse in places Endless Summer has a real vocal that goes thin through parts of the song, and the lead guitar carries much of the upper color, so each card states which line it is reading and flags where the vocal drops out.
Arrangement and lead line Not Too Much exposes two guitars and bass in the local MIDI without a confirmed vocal track, so the top line is marked lead melody, not vocal, until the melody export is recovered. The study here is the arrangement, the C/E to Cm/E♭ third-flicker and the bass-against-guitar field.
Vocal recovered (06-02 MIDI) Lazarus earlier shipped harmony-only because every local MIDI ran rhythm gtr, lead gtr, and bass without a vocal lane. The 06-02 export (Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Lazarus-06-02-2026.mid) adds the vocal as a 165-note track in D♯3 to F4. Verse opener at bar 2 reads A3 G3 E4 ("Yeah you're high, so high"), the refrain top-line cell at bar 7 reads F4 E4 D4 C4 D4 ("But the best of all"), the back half drops the same shapes into G3 A♭3 F3 E♭3, and the outro field is B♭2 for ~59 of the last 63 bars. The Drop C pressure, the suspended shapes, and the chord bed all stand; the vocal line is now drawn on top.
Three moments hold the whole idea in miniature: Asleep's A over F, Broken Satellites' D over E♭, and the Alligator's B moving to C. Each is a single pitch made to mean something specific by the layer beneath it. The songs look ordinary as chord symbols and turn precise when the layers come apart, and that precision is where the feeling actually lives.
1 · Asleep In The Trunk , Shiner (intro, bass C–E♭–F ostinato alone)[stems] · [MIDI] · [Songsterr tabs]
F minor center, Drop C · the song opens with the bass riff alone, no guitar, no vocal, the same C–E♭–F ostinato that will hold up the entire verse, stated unaccompanied for four bars · ♩=173 · bars 0–3 (MIDI 0-indexed)
Intro, bass C–E♭–F ostinato establishing the riff (bars 0–3)
Vocal / Rhythm gtr / Bass, aligned by measure (only the bass plays; the riff IS the song's foundation, stated alone first)
No guitar tab, rhythm guitar silent for this section (see V:Gtr rest pattern in the staff above).
Bass tab, Drop C bass (C G C F low→high), ♩=173 · low C-string fret 0 (C1) + fret 3 (E♭1) + fret 5 (F1)
G|----------------|----------------|----------------|----------------|
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
C|0---3---5---0---|3---5---0---3---|5---0---3---5---|0---3---5---0---|
C E♭ F C (4 bars of the verse ostinato, stated alone before voice enters at bar 4)
The verse riff is the song's whole architecture: C → E♭ → F, three notes that establish an F center without stating a third. C is the 5 of F, E♭ is the ♭7 of F, F is the root, root + 5 + ♭7, the third left open for the voice to color. The intro states this riff alone, no rhythm guitar, no vocal, no harmonic stack. Four bars of pure bass. By the time the voice enters at bar 4 to deliver "I keep thinking that we're still in love" (or the verse-one entrance lyric, per the chord-lyric chart), the listener knows the song's whole harmonic terrain, the riff has been the introduction to itself. The third (A natural for major, A♭ for minor) is missing from the bass entirely; the vocal will fill that color, and the central tension of the song (raised-3rd over a third-less bass) is set up before the first sung note.
From the chart · the chord-lyric chart begins at the first lyric (~bar 4). The 0–3 bass intro is not annotated.
From the MIDI · source Shiner-Asleep In The Trunk-05-05-2026.mid (T7 export). Bars 0–3 bass-only trace per beat: C2, F2, D♯2 (= E♭2), F2 cycling continuously, 4 onsets per beat. Pitch-class set in bass across bars 0–3 = exactly C, E♭, F (the verse ostinato). Rhythm guitar silent. Lead guitar silent. Vocals silent. Bar 0.0–0.3 has a single synth F+A+C flash (one beat of F-major-triad color from the synth pad) then the synth drops out for the rest of the intro, the only third the song will hear from any non-vocal instrument.
The chorus is built on an 8-bar loop, two 4-bar halves that share the same opening: F5 → D♭5 → B♭5, then split on bar 4. The first half closes on A♭5 (♭III); the second half closes on C5 (V). The chord on bar 4 is what makes the second pass resolve forward instead of cycling back. This excerpt shows the first half. Over F5 the voice opens on A natural before stepping down to F. That A is the major 3rd of F, doubled by the Gtr-Mid triad layer in the 3-guitar audio-truth MIDI; the rhythm guitar's bare power chord leaves the third out, the mid voice and vocal voice it together. Over D♭5 the vocal climbs D♭ → E♭ → F, root, 9, major 3rd of D♭, the brightest vocal moment in the chorus. Over B♭5 the vocal falls F → E♭ → D♭, 5, 4, minor 3rd of B♭, the same three pitches as the climb, ordered the other way. Over A♭5 (the first-half closer) the voice holds C, the major 3rd of A♭. The second pass of the loop (not shown in this excerpt) replays bars 1–3 the same way, but bar 4 lifts to C5 (V) instead of dropping to A♭5 (♭III). The C5 turnaround is what closes the full chorus and points the song back toward F.
From the chart · F minor; chorus begins at "I keep thinking that we're still in love"; F5–D♭5–B♭5–A♭5–C5 roots.
From the MIDI · inventory by count: C ×7, D♭ ×5, E♭ ×5, F/B♭/A occasional. The entrance over F5 is A → F (major third into root), verified at bars 53–54 in both files; the D♭5 climb D♭→E♭→F at 56–57. The recoloring is the MIDI read.
F minor, Drop C tuning · the verse's signature move: vocal A natural over the F bass, the raised major 3rd over an F minor field, the bright tone the rhythm guitar refuses to play · ♩=173
Verse one, F bass ostinato, vocal walks A♮ / B♭ / C / D♭ / E♭ (bars 13–16)
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C; rhythm gtr rings F with D♭ on top, the ♭6)
Guitar tab, Drop C (C G C F A D low→high), ♩=173, F + D♭ (♭6 over F)
D|----------------|----------------|----------------|----------------|
A|4---------------|4---------------|4---------------|4---------------|
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|10--------------|10--------------|10--------------|10--------------|
C|5---------------|5---------------|5---------------|5---------------|
F + D♭ (♭6 over F; A-string fret 4 = D♭3, low C fret 5 = F1, G fret 10 = F2)
Bass tab, Drop C (C G C F low→high), ♩=173, E♭–F–C ostinato (♭7–root–5)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|3---5---5---0---|3---5---5---0---|3---5---5---0---|3---5---5---0---|
E♭ F F C (the ♭7–root–5 machine, same as the intro riff; octave/rhythm approximate)
The verse is built on a bass E♭–F–C ostinato (E♭ on the downbeat, F through the middle of the bar, C at the end, the ♭7–root–5 machine that opens the song), held under a rhythm guitar moving dyads that ring a D♭ (the ♭6) over the F field. What the band gives you, harmonically, is an F-minor field with an added-♭6 color. The vocal does the opposite. It walks B♭3 → C4 → C♯4 → C4 → B♭3 → A3 → B♭3 across bars 13–14, and the salient inflection of that walk is A natural, the major 3rd of F. Over an F-minor song with a ♭6 in the guitar, the vocal arrives on the M3 the chord refuses to declare. The voice does it gently, A3 holds only an eighth note each time, a quick lift to the major third before the line steps up to B♭, but it's the song's central tension: the same A♮ that the F-pedal section will later rub directly against the guitar's A♭ (covered in the Y-part card). Verse one also touches C♯4 (= D♭4), which doubles the rhythm guitar's D♭, the same ♭6 color, but on the vocal staff. The vocal carries both the M3 the chord withholds (A♮) and the ♭6 the chord prints (D♭), on the same lyric phrase.
From the chart · key F minor (per the existing Asleep cards). The chord-lyric sheet has the verse-one lyrics; mapping to specific bars approximate.
From the MIDI · all data from Shiner-Asleep In The Trunk-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 173 BPM. Bars 13–16 bass attacks: E♭2 → F2 → F2 → C2 per bar (the ♭7–root–5 figure; the E♭ is the ♭7 of F, diatonic, and sounds on every downbeat, not a chromatic passing tone). Vocal events bar 13: B♭3 → C4 → C♯4. Bar 14: C4 → B♭3 → A3 (the M3 of F!). Bar 15: B♭3. Bar 16: B3 → C4 → B♭3 → A3. A3 appears twice in this excerpt (bars 14 and 16), each a quick eighth-note lift that then steps up to B♭3; the vocal lane carries 37 A-naturals across the whole song, the "vocal-supplies-the-3rd, behavior #1" move.
F center, Drop C · one bass machine, the voice changing the light above it · ♩=173
Verse one, pedal-point writing (bars 8–22)
Vocal / Bass, aligned by measure (bass riff IS the chord)
No guitar tab, rhythm guitar silent for this section (see V:Gtr rest pattern in the staff above).
Bass tab, Drop C (C G C F), ♩=173, the riff repeats every bar
G|----------------|
D|------1---3-----|
A|3---------------|
E|----------------|
C E♭ F (repeats)
The bass is a machine: the same C–E♭–F riff every bar, F with its ♭7 and 5th and no third at all. Everything dramatic happens in the voice above it. The line moves through D♭ (the ♭6, ache), C (the 5th, grip), B♭ (the 4th, a suspended 11th), and E♭ (the ♭7, modal weight). The sharpest move is A natural, the major 3rd: in a song this minor, the voice reaches up to the raised third the bass refuses to spell, a brief bright flash inside a dark room. The lyric begs for release and the harmony answers by keeping the singer pinned over the same unmoving F engine.
From the chart · F minor; the verse holds the F center.
From the MIDI · the bass is a literal C–E♭–F ostinato (no third), and the vocal moves D♭, C, B♭, A♮, E♭, the A natural is a melody detail, the raised third the bass never spells. Read from 5085156 Asleep In The Trunk.mid.
1 · Asleep In The Trunk , Shiner (Y part / late pre-chorus)[stems] · [MIDI] · [Songsterr tabs]
F center, Drop C · a long F pedal, one note answering two chords, major third against minor · ♩=173
"You love the sound, beating heart", the F pedal (bars 102–139)
Vocal / Guitar / Bass, aligned by measure
Guitar tab, Drop C (C G C F A D low→high), ♩=173, rhythm gtr cycles F → F+A♭ → F+A♭+E♭ (F → Fm → Fm7) while bass holds F
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|3---------------|3---------------|3---------------|3---------------|
C|3---------------|1---------------|1---------------|1---------------|
G|3---------------|4---------------|4---------------|4---------------|
C|----------------|----------------|----------------|----------------|
bar 102 bar 105 bar 115 bar 131
F5 power Fm: F+A♭+C Fm7: F+A♭+C+E♭ Fm + A♮ rub
(gtr A♭ + voc A♮)
Bass tab, Drop C (C G C F low→high), ♩=173, F1 pedal sustained for 45 bars (102–146), single pitch only
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|5---------------|5---------------|5---------------|5---------------|
bar 102 bar 105 bar 115 bar 131
F1 (low-C fret 5) sustained across all 45 bars of the Y-part section
The bass refuses to leave F for nearly forty bars. The guitar changes the ceiling above it, voicing F, then A♭ (making an Fm), then E♭ on top (Fm7), while the voice climbs A → B♭ → C, the major third, the fourth, the fifth over the same root. Two things make it strong. The vocal A natural rubs the guitar's A♭, a major third sounding against a minor third over the pedal, the sharpest friction in the song. And when the guitar holds the A♭ color, the sung C is the fifth of F and the major third of that A♭ at once, one note answering two chords. The band stays a blunt block; the voice supplies every vulnerable tone above it.
From the chart · the rough sheet marks D♭, B♭m, Cm, Fm through this area.
From the MIDI · all data from Shiner-Asleep In The Trunk-05-05-2026.mid (T7 export). Tempo metaevent 173 BPM. F-pedal verified bars 102–146 (45 contiguous bars of bass-on-F pedal), longer than the card's earlier 102–139 range. Guitar colors F, A♭, E♭ over the pedal; vocal A → B♭ → C above. The vocal A♮ vs guitar A♭ rub fires at bar 131 specifically, vocal A♮ (1 onset) against rhythm gtr A♭ stack (16 onsets), the sharpest single-bar friction in the F-pedal section. The F-pedal reading and the double-function C are MIDI reads.
1 · Asleep In The Trunk , Shiner (outro, V → i finally resolves)[stems] · [MIDI] · [Songsterr tabs]
F minor center, Drop C · the song ends by finally resolving the V → i: 4 bars of C5 (V) with the vocal sustaining C (root of C5 = also the 5 of F), then the bass drops to F1, the gtr opens to F+C+G = F5add9, and the song holds on the resolved i for 4 sustained bars and fades · ♩=173 · bars 188–195
Outro, V (C5) sustained, then i (F5add9) sustained fade (bars 188–195)
Vocal / Rhythm gtr / Bass, aligned by measure (4 bars of V with vocal, 4 bars of i instrumental)
Bass tab, Drop C (C G C F low→high), ♩=173 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|0---------------|0---------------|----------------|----------------|
C1 _V C1 (out of range) (out of range)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=173 · C5 = C2+G2 open low strings; F5add9 = C2+F3+G2 (open low C + F-string open + open G)
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|----------------|----------------|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
C|----------------|----------------|----------------|----------------|
G|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
C|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|5-5-5-5-5-5-5-5-|5-5-5-5-5-5-5-5-|
C2 + G2 (C5) C2 + G2 (C5) F1 + G2 + F3 F1 + G2 + F3
V (held) V (held) i with add9 i with add9 (fade)
The chorus has spent the whole song circling F5 (i) → D♭5 (♭VI) → B♭5 (iv) → A♭5 (♭III) → C5 (V), and the C5 has been the dominant the song never resolves. The outro is the resolution. For four bars the rhythm guitar holds C5 (V) with the vocal sustaining C (the root of C5, and also the 5th of F), doubling the bass for the most consonant sound possible. Then the bass walks down a fifth, C → F, the V-to-i move the song has been promising and refusing, and arrives on F5add9 (i with a 9 added). The add9 (the open G2 ringing through) is the only color the song allows itself at the resolution, not a pure power chord, not a major-or-minor commitment, just the open 5th of the tuning ringing as a 9th of F. The song spends 4 minutes in F-minor-flat-side territory and ends by stating the V-i without elaboration, the add9 the only tension left at the end.
From the chart · the chord-lyric chart marks the final chorus repeat ending; the post-vocal V-to-i instrumental fade is not annotated as a separate section.
From the MIDI · source Shiner-Asleep In The Trunk-05-05-2026.mid (T7 export). Bars 188–191 bass low pitch = C2 (consistent across all 16 beats, 16 onsets). Bars 192–195 bass low pitch = F1 (consistent across all 16 beats). Rhythm gtr at bars 188–191 = C + G (4 onsets per beat, no other PCs). Rhythm gtr at bars 192–195 = C + F + G (4 onsets per beat, F enters as the chord changes). Vocal at bars 188–191 sustains C4 (4 onsets across 4 bars). Vocal silent bars 192–195 (no onsets). The V→i resolution is the song's only completed cadence, every prior chorus end loops back to the verse rather than arriving.
1 · Asleep In The Trunk , Shiner (bridge, 35 bars on F, third stripped then restored, vocal silent)[stems] · [MIDI] · [Songsterr tabs]
F center, Drop C · the bridge is the song's longest single event, 35 bars with no vocal, the bass holding F1 alone for 17 bars then lifting to F2, while the rhythm guitar slowly cycles through every possible "what chord lives over F" voicing, Fm → F5 (third stripped) → Fm7 → F5 → F5 ↔ E♭5 (I ↔ ♭VII), before the vocal returns at bar 170 · ♩=173 · bars 152–155 of the 35-bar bridge (the central F5 phase)
Bridge, F5 power chord on F bass, third stripped (bars 152–155 of bars 135–169)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=173 · Rhythm gtr holds F5 (F2+C3+F3 = root+5+oct, no 3rd); Lead gtr plays E♭4+C3+E♭3 cluster (= ♭7+5 of F = F5(add ♭7) color)
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|0---------------|0---------------|0---------------|0---------------|
C|5---------------|5---------------|5---------------|5---------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
bar 152 bar 153 bar 154 bar 155
rhythm gtr F5: F2+C3+F3 sustained across all 4 bars
lead gtr drone bars 152-154: E♭4+C3+E♭3 (= ♭7+5 of F, F5(add ♭7) color)
bar 155 lead adds F4 (= root returns, ♭7 fades)
Bass tab, Drop C (C G C F low→high), ♩=173 · F2 sustained, single pitch only
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|------10--------|------10--------|------10--------|------10--------|
C|----------------|----------------|----------------|----------------|
bar 152 bar 153 bar 154 bar 155
F2 (G string fret 10) sustained, single pitch only across 9 bars (152-160)
The bridge is where Asleep In The Trunk asks the question its verses keep dodging: what mode is the song in? The verse holds F2+C2+E♭2 as a bass-ostinato, root + 5 + ♭7 of F, but it never puts a 3rd in the room, so F major vs F minor stays open. The chorus walks down through the flat side. Then the bridge arrives at bar 135 and stays for 35 bars without a single vocal entry. The bass plays F1 alone from bars 135–151, then lifts to F2 from bars 152–160, then back to F1, that's 17 bars of bass on a single pitch before any motion. Meanwhile the rhythm guitar slowly cycles through every possible chord-quality over an F root: Fm (bars 135–143: F+A♭+C, the ♭3 finally voiced, briefly), then F5 (bars 144–151: third stripped, just F+C+F), then Fm7 (bars 147–151: adds E♭ → F+A♭+C+E♭), then F5 again for 9 bars (152–160, the bridge's center of gravity), then F5 ↔ E♭5 alternation (bars 161–169: I ↔ ♭VII root motion, third withheld). The 4-bar window shown is the bridge's quiet middle, F bass + F5 power chord above + lead guitar dropping the ♭7 (E♭) as a low drone. The bridge isn't a harmonic departure; it's a harmonic interrogation. The band asks F what it is, in slow motion, for 35 bars, and the song answers by letting every flavor of F stand before moving on. When the vocal finally returns at bar 170 it sings A3 (the M3 of F), the raised third flashing over the F-minor field, after 35 bars of the band refusing to commit.
From the chart · key F. The chord-lyric sheet doesn't annotate the long instrumental break; vocal returns at bar 170 with the next lyric section.
From the MIDI · all data from Shiner-Asleep-FROMCDN.mid (CDN export with vocals track). Tempo metaevent 120 BPM (the book's ♩=173 is the audio reference; the MIDI's 120 is the Songsterr editor BPM). Vocals (track 3) last onset before the bridge at bar 134 on E4; next vocal onset at bar 170 on A3, 35-bar vocal silence. Bass (track 2) bars 135–151 = F1 alone (single pitch, sustained); bars 152–160 = F2 alone (octave up); bars 161–169 = F1 again. Rhythm gtr (track 1) bars 135–143 = G♯3 + C3 + G♯2 (= A♭ + C = Fm triad with the A♭ doubled, no F in the rhythm gtr because the bass carries F). Bars 144–151 = F4 + C4 + F3 (= F5 power chord with F doubled, root + 5 + oct). Bars 147–151 add G♯4 + E♭4 (= A♭ + E♭ = Fm7's ♭3 and ♭7). Bars 152–160 = F3 + C3 + F2 (= F5 power chord, the bridge's center; the 4-bar excerpt shown). Bars 161–169 alternate F4+F3+C3 (= F5) with E♭4+C3+E♭3 (= E♭5/I bass), the I ↔ ♭VII move. Lead gtr (track 0) bars 152–161 plays E♭4 + C3 + E♭3 cluster (= F's ♭7 + 1, the F minor 7th's tension color) sustained as a low drone; bar 155 adds F4 (root returns); bars 162–169 fades out lead entirely. The 35-bar bridge is the longest vocal silence in the album.
F center, Drop C · same chords as the first chorus, the voice climbs higher · ♩=173
Final chorus, the high A♭ the first pass never reached (bars 168–184)
Vocal / Guitar / Bass, aligned by measure
Guitar tab, Drop C (C G C F A D low→high), ♩=173, 5-chord chorus skeleton: D♭5 → B♭5 → A♭5 → F5 → C5 (♭VI → iv → ♭III → i → V in F minor)
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|1---------------|3---------------|1---------------|3---------------|
C|1---------------|3---------------|1---------------|3---------------|
G|1---------------|3---------------|1---------------|3---------------|
C|----------------|----------------|----------------|----------------|
bar 168 bar 172 bar 176 bar 180
D♭5 (♭VI) B♭5 (iv) A♭5 (♭III) F5 (i)
voc high A♭4 over B♭5 = ♭7 (sung only in final chorus)
Bass tab, Drop C (C G C F low→high), ♩=173, bass walks the 5 chord roots: D♭1 → B♭1 → A♭1 → F1 → C1
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|1---------------|10--------------|8---------------|5---------------|
bar 168 bar 172 bar 176 bar 180
D♭1 (low-C fr1) B♭1 (low-C fr10) A♭1 (low-C fr8) F1 (low-C fr5)
The chord skeleton does not change, D♭5 (♭VI) → B♭5 (iv) → A♭5 (♭III) → F5 (i) → C5 (V), the same bed as the first chorus. The intensity comes entirely from the voice climbing higher. Over B♭5 the line now reaches a high A♭, the ♭7 of B♭ (and the 5th of D♭ where it arrives there), the highest, most strained tone in the song, which the first chorus never touched. The familiar D♭ → E♭ → F climb is still underneath it. So the band intensifies the last pass without altering a single chord: the power chords hold their shape and the singer simply pushes up to that A♭, widening the repeat through register, not harmony.
From the chart · F minor; final chorus at "I keep thinking that we're still in love"; D♭5–B♭5–A♭5–F5–C5 roots, same as the first chorus.
From the MIDI · the differentiator is a high A♭4 in the vocal at bars 175–182, sung over B♭5 (its ♭7) and D♭5 (its 5th), absent from the first chorus. Same chord skeleton; the rise is the MIDI read. Lyric placement approximate.
2 · The Alligator , Shiner (intro, open Drop C strum, no bass, no vocal)[stems] · [MIDI] · [Songsterr tabs]
Drop C open-string field · the song opens with four bars of open Drop C strings letting ring (rhythm gtr only, pitch classes C+D+F+G+A, no B or F♯ yet), the tuning itself states the harmonic field before the song's G-centered argument begins · ♩=120 · bars 0–3 (MIDI 0-indexed)
Intro, open-string drone, no bass, no vocal (bars 0–3)
Vocal / Rhythm gtr / Bass, aligned by measure (bass silent, vocal silent; the rhythm gtr is the entire texture)
No bass tab, bass silent for this section (see V:Bass rest pattern in the staff above).
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=120 · all six open strings let ring
D|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
A|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
F|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
C|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
G|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
C|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
open Drop C let ring all six rings all six rings
= C+G+C+F+A+D (the tuning IS the chord)
Four bars of nothing but the open strings of Drop C. No bass yet, no vocal, no fretted notes, the rhythm guitar lets all six open strings ring: C2 + G2 + C3 + F3 + A3 + D4. Read as a chord that is C with an added 9 (D), added 4 (F), and an open A-on-top, but really it is just the tuning itself sounding as a wash. The song hasn't declared a key yet, hasn't voiced the I chord; the only thing committed is the tuning, and the tuning is going to do most of the work all the way through. When the bass enters at bar 4 with a chromatic approach (A♯1 → B1 → G1), the song "starts", but everything you'll hear is implied by these four bars of ringing C-stack.
From the chart · the chord-lyric chart does not annotate the intro (silent / instrumental).
From the MIDI · source Shiner-The Alligator-05-05-2026.mid (T7 export). Bars 0–3 rhythm guitar pitch classes: C, D, F, G, A (all 5 PCs present, 4 onsets per bar continuously, no other PCs). Bass track is silent across bars 0–3 (first bass event is at bar 4 beat 0 on G♯1/A♭1 chromatic, then A♯1 at beat 2, then B1, before arriving on G1 at bar 6, the verse-1 home). Vocals track silent until bar 5. Open-string identification: in Drop C (low to high C G C F A D), striking all six open strings produces exactly C+G+C+F+A+D, the same five distinct PCs the MIDI shows.
G major, Drop C tuning · rhythm gtr plays an open-string G no-3 strum (G + A + D), the lead gtr pedals F♯, the M7 of G, the voice supplies B (the M3) · stacked across all four parts this is Gmaj9, then B♭ section moves bass to B♭1 and rgtr to B♭6 (the vocal C adds the 9) while the lead echoes high · ♩=120 (chord identity from audio stems; Moises analysis marks "G major / 120 BPM")
Verse, chord identity from the audio stems, not the tab MIDIs (4-bar G→B♭ phrase)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=120 · open-string strum: G section = open G+A+D rings, no fingering · B♭ section = A-string fret 1 (B♭3) + open D + open F joins
D|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
A|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|1-1-1-1-1-1-1-1|1-1-1-1-1-1-1-1|
F|----------------|----------------|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
C|----------------|----------------|----------------|----------------|
G|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|
C|----------------|----------------|----------------|----------------|
G2+A3+D4 ringing G2+A3+D4 G2+B♭3+D4+F3 G2+B♭3+D4+F3 (walkdown into next G)
= G + A + D same = B♭ + D + F + G B♭ → A♭ → G (3 steps, ~32nd notes)
Gadd9 no-3 Gadd9 no-3 B♭6 (root+3+5+6) bass walks under unchanged rgtr
Bass tab, Drop C (C G C F low→high), ♩=120 · G1 open → B♭1 fret 3 of G string · seam walkdown B♭1 → A♭1 → G1 at ~32nd-note speed
Source hierarchy for this card: tab MIDI proves playable shapes; audio stems prove sounded harmony. The chord-identity claims here use audio stems (basic-pitch on rhythm.wav and lead.wav, crepe on bass.wav and vocals.wav). The tab on this page shows the playable shape on Drop C, not the full sounded stack. Chord identity correction read from the audio stems, not from the Songsterr tab MIDIs (every previous tab-MIDI read got the chord wrong because tab MIDIs encode the fingering, not the strum). Moises' analysis on the full mix marks this G major / 120 BPM, and per-stem pitch-class measurements from basic-pitch on rhythm.wav and lead.wav plus crepe on bass.wav and vocals.wav give a denser harmony than any of the earlier tab reads.
G section. The rhythm guitar strums Drop C with no fingering, open G2 + open A3 + open D4, a 3-note G no-3 voicing (root + 9 + 5). Pitch-class durations across 4 seconds of audio: G=2.12s, A=2.17s, D=3.02s, all three present, with the M3 (B) sparse at 0.81s. The lead guitar pedals F♯4 sustained 4.94s out of every 4-second bar in the second verse cycle, the M7 of G. The voice rides B3, the M3 of G. Stack all four parts: rhythm gtr (G + A + D) + voice (B) + lead (F♯) = G + A + B + D + F♯ = Gmaj9. The Move-1 thesis holds with an extension: the voice supplies the M3 and the lead supplies the M7, both stacked over a rhythm-gtr foundation that withholds both.
B♭ section. The rhythm guitar shifts the A-string from open (A3) to fret 1 (B♭3); the open D continues ringing and the open F-string joins the strum. The rgtr now plays B♭3 + D4 + F3 + open G2 ringing = B♭ + D + F + G = B♭6 (root + M3 + 5 + 6). The voice steps up to C4 = the 9 of B♭ (adding the 9 that makes the full stack a B♭6/9). The lead echoes high C5 + B4 + F♯4, continuing Gmaj7 color tones (B + F♯ = the M3 and M7 of G) over the B♭ bass, a brief polychord effect (lead-supplied G color against rgtr-supplied B♭6). The hook rocks between the M3 of G (with the lead's M7 layered above) and the 9 of B♭ (over a fuller rgtr triad).
Walkdown. Just before each return to G the bass walks chromatically B♭1 → A♭1 → G1, three quick steps at roughly 32nd-note speed (~60 ms per step, measured directly from the bass stem at t=12.04–12.22 s). The previous card's "B → B♭ → A → A♭ → G" four-note walkdown was inflated by Songsterr-tab-MIDI granularity; the audio shows three notes, not five. Within the 12-bar verse-into-chorus form the walkdown fires three times: bars 4, 8, and 10 (every B♭→G seam in the cycle). Bar 11→12 is G→G/B, no walkdown.
From the chart · key Gm. The chord-lyric sheet labels this Gm and alternates Gm / B♭ ("What is that you say?", "I know what you need"). The Gm key claim is wrong, Moises' analysis on the full mix marks G major / 120 BPM, the vocal sings B♮ (M3 of G), and the lead pedals F♯ (M7 of G); neither fits G minor.
From the audio · stems at /Volumes/T7 Shield/Full wav files for music books are here/1-02 The Alligator-G major-120bpm-441hz/. Per-stem transcription: basic-pitch (ONNX) on rhythm.wav and lead.wav (polyphonic) and crepe (viterbi, conf > 0.5) on bass.wav and vocals.wav (monophonic). Pitch-class durations integrated across each 2-bar half of the verse cycle. The previous Songsterr-tab MIDIs (T7 export + Songsterr capture + FROMCDN, which turned out to be byte-identical to the capture) all missed the lead-guitar F♯ pedal: the lead's M7 lives in a track those tab transcriptions either dropped or assigned to the rhythm voice. Audio is the source of truth at this depth; tab MIDIs are inadequate for harmonic identity claims.
2 · The Alligator , Shiner (12-bar form overview, 8 verse + 4 chorus)[stems] · [MIDI] · [Songsterr tabs]
G major, Drop C · the song's whole repeating unit is 12 bars: a two-cycle verse (4-bar G→B♭ phrase × 2) followed by a 4-bar chorus (G + B♭ + G + G/B). The walkdown B♭1 → A♭1 → G1 fires at every B♭→G seam (bars 4, 8, 10). Vocals enter at verse cycle 2 (bar 5). This form model is reconstructed from the audio-truth MIDI at alligator-corrected/, not from the Songsterr tab MIDI (which encodes playable fingering for one guitar track and does not preserve the 12-bar cycle as a single repeating unit) · ♩=120
Full 12-bar form, verse cycle 1 (silent) → verse cycle 2 (vocals) → chorus (4 bars including G/B)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (12 bars total: bars 1–4 verse cycle 1 silent, bars 5–8 verse cycle 2 with vocals, bars 9–12 chorus ending on G/B)
Guitar tab, Drop C (C G C F A D low→high), ♩=120 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
Bass tab, Drop C (C G C F low→high), ♩=120 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
The form is a 12-bar cycle that repeats:
Bars 1–4 (verse cycle 1, instrumental): G | G | B♭ | B♭, bass G1, G1, B♭1, B♭1; rhythm gtr G+A+D for G, G+F+B♭+D for B♭; lead F♯4 pedal over G, C5+B4+F♯4 cluster over B♭. Vocals silent. Bars 5–8 (verse cycle 2, vocals enter): same chord pattern G | G | B♭ | B♭. Vocal sings B3 over G (the M3 of G the rhythm gtr withholds), C4 over B♭ (the 9 of B♭). Bars 9–12 (chorus): G | B♭ | G | G/B, same vocal logic for the first three bars; the final bar shifts to a G/B inversion (bass B1, rhythm gtr B2+D3+G3), the song's only first-inversion moment in the verse-chorus cycle, the "alligator" hook arriving on a chord with the M3 in the bass. The walkdown. Every B♭→G seam (end of bar 4, end of bar 8, end of bar 10) the bass plays a 3× 32nd-note B♭1 → A♭1 → G1 descent (~60 ms per step) as a transition into the next G chord. Bar 11→12 is G→G/B and does NOT walk down (the seam stays inside G territory).
From the chart · the chord-lyric chart documents one 4-bar verse phrase and a chorus tag but does not present the 12-bar repeating-form structure explicitly. The form-overview here distills the chart's bar markers into a single full cycle.
From the MIDI · source alligator-corrected/alligator-audio-truth.mid (audio-truth model, 5-track SMF + GP3, built 2026-06-02 23:38). 12 bars, 4/4, 120 BPM, G major, Drop C bass C1/G1/C2/F2, Drop C guitar C2/G2/C3/F3/A3/D4. Bar map verified: bars 1–4 verse cycle 1 vocal-silent; bars 5–8 verse cycle 2 with vocal B3/B3/C4/C4; bars 9–12 chorus B3/C4/B3/B3 ending on G/B (bass B1, rhythm B2+D3+G3). Walkdown notated at bars 4, 8, 10 as 3× 32nd notes B♭1 → A♭1 → G1. Velocities: bass 100, walkdown 96, rhythm 92, lead 88, vocals 85. See alligator-corrected/README.md for the build process and conservative-choices documentation.
2 · The Alligator , Shiner (instrumental break, the rhythm gtr finally states the third)[stems] · [MIDI] · [Songsterr tabs]
G area, Drop C · the instrumental break is where the band briefly lets the rhythm guitar state full triads with their thirds intact: after 50+ bars of third-withholding open voicings the rhythm guitar plays a clean C major triad (C+E+G), passes through G/B (D+G+B, the song's hook chord made the spine of the phrase), then arrives on an E♭ major triad (E♭+G+B♭). The thirds the song has withheld are voiced by the rhythm guitar itself, then the verse cycle resumes and the layer-supply returns to voice + lead · ♩=120 · bars 54–58 (MIDI 0-indexed)
Instrumental break, the C-major reveal, then E♭ major two bars later (bars 54–58)
Vocal / Rhythm gtr / Bass, aligned by measure (no vocal; rhythm gtr states the triads)
Bass tab, Drop C (C G C F low→high), ♩=120 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|3---------------|0---------------|----------------|----------------|
E♭1 C1 (out of range) (out of range)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=120 · bar 55 = C major triad (C2+E3+G3), bar 58 = E♭ major triad (E♭2+G2+B♭2)
D|----------------|----------------|----------------|----------------|----------------|
A|----------------|2-2-2-2-2-2-2-2-|----------------|1-1-1-1-1-1-1-1-|----------------|
F|----------------|----------------|0-0-0-0-0-0-0-0-|----------------|----------------|
C|----------------|0-0-0-0-0-0-0-0-|2-2-2-2-2-2-2-2-|3-3-3-3-3-3-3-3-|----------------|
G|----------------|----------------|----------------|0-0-0-0-0-0-0-0-|----------------|
C|3---------------|0-0-0-0-0-0-0-0-|----------------|3-3-3-3-3-3-3-3-|----------------|
D♯1 walk C major triad G/B inversion E♭ major triad
(descent) C2 + E3 + G3 G2 + B2 + D3 E♭2 + G2 + B♭2
The whole song so far has been the same trick: rhythm gtr plays a third-withholding open voicing, voice supplies the 3rd. The G+A+D voicing over G in the verse never put B (the 3rd) in the guitar, the chorus moved to G/B but still kept the 5th-and-9th color. In the instrumental break the band finally plays clear major triads in the rhythm guitar, and they do it with full triads. Bar 55 arrives on a C major triad (C2 + E3 + G3, sustained four beats), the IV of G stated with its third intact. Bar 56 the bar between the two reveals, the rhythm guitar plays D + G + B (G/B, first inversion), the same chord the song's hook arrives on. The break is C major to G/B to E♭ major: the G/B passes through as the song's home-key checkpoint between the two outer colors, joining the diatonic IV (C) and the borrowed E♭ across a G-centered middle. Two bars later the bass drops to E♭1 and the rhythm gtr plays an E♭ major triad (E♭2 + G2 + B♭2, sustained four beats), the ♭VI of G, a borrowed mode-mixture chord, also stated with its third intact. Both moves are the song refusing to commit to its own minor implications. The C major is plagal-bright (IV in G), the E♭ major is the ♭VI (mode mixture from G minor), and both are spelled with full triads while the verse and chorus refused. When the verse cycle returns at bar 60, the open voicings come back and the voice resumes its job of supplying thirds. The break was the only place the band committed.
From the chart · the chord-lyric chart does not parse the instrumental break in detail.
From the MIDI · source Shiner-The Alligator-05-05-2026.mid (T7 export). Bars 54–58 rhythm guitar pitch-class trace by bar: bar 54 = D♯/A/G chromatic walk (bass D♯3 descending); bar 55 = C+E+G sustained (4 onsets per beat for 4 beats = C major triad); bar 56 = D+G+B (G triad with B in bass for G/B inversion, bass B2); bar 57 = D+G+B + bass walk G→D♯ at bar 57.2; bar 58 = D♯+G+A♯ sustained (E♭ major triad). Lead guitar follows: bar 55 lead C/A/G (5/3/root of C); bar 58 lead D♯/G/A♯ (root/3/5 of E♭) for two beats. Both triads are fully stated, not the dyads of the verse. Vocal track silent across bars 54–58.
After 20 bars of G/B♭ rocker, the bridge interrupts the cycle with a chromatic bass descent under fuller rhythm-guitar triads: bass walks E♭3 → C3 → B2 → B2, the rhythm guitar prints E inside C major and B inside G major directly. The verse cycle had kept the third outside the rhythm-guitar stack, supplied only by voice and lead; here the rhythm guitar supplies it itself. The vocal reaches a new high E♭4, the pivot pitch of the section · Drop C, ♩=120
Bridge, chromatic bass descent, C → G chord shift, vocal touches E♭4 (bars 24–27)
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=120, rhythm gtr finally plays full triads: C major (C+E+G+C, bar 24), G major (G+B+D, bar 26), E♭5 (bar 28)
D|0---------------|0---------------|----------------|----------------|
A|7---------------|----------------|----------------|----------------|
F|3---------------|0---------------|0---------------|0---------------|
C|3---------------|----------------|----------------|----------------|
G|3---------------|0---------------|0---------------|0---------------|
C|0---------------|----------------|----------------|----------------|
bar 24 bar 25 bar 26 bar 27
C maj: C+E+G+C walk G maj: G+B+D sustained
IV in G (full!) I (full triad!) I cont.
Bass tab, Drop C (C G C F low→high), ♩=120, bass walks chromatic E♭3 → C3 → B2 → B2 across 4 bars (continues G2 → E♭2 → C1 → G1 across bars 28-30)
F|5---------------|----------------|----------------|----------------|
C|--------5-------|------0---------|----------------|----------------|
G|----------------|----------------|------4---------|------4---------|
C|----------------|----------------|----------------|----------------|
bar 24 bar 25 bar 26 bar 27
E♭3 (F fret 5) C3 (C fret 0) B2 (G fret 4) B2 cont.
chromatic descent: E♭ → D♭, C, B → B♭, A♭, G (continues bars 28+)
The verse held the vocal's B over the rhythm guitar's third-less G+A+D voicing and a G / B♭ bass for 20 bars. The bridge does three things the verse refused. First, the bass walks chromatically downward: E♭3 → C3 → B2 → B2 (then continues G2 → E♭2 → C1 → G1 across bars 28–30, a 7-bar descent across two octaves). Second, the rhythm guitar drops the third-less voicing and states full triads: C major (C + E + G + C) at bar 24, then G major (G + B + D) at bar 26. Bar 24 gives C major with E present in the guitar; bar 26 gives G major with B present in the guitar and vocal together. The M3 of each chord (E for C, B for G) lives inside the rhythm-guitar stack itself, no longer supplied from outside by voice and lead. The third briefly transfers from the upper layers to the rhythm guitar, then the verse cycle returns and the layer-supply returns with it. Third, the vocal reaches E♭4 at the end of bar 23, a tone neither verse nor chorus has touched. Over the G/B♭ home it is the ♭6 of G or the 4th of B♭, both darkening colors; over the bridge's incoming E♭3 bass it becomes the root, which is why the same pitch enables the chord shift. The E♭4 is the pivot pitch of the bridge: it colors the old G and B♭ area as ♭6 and 4, then the E♭3 bass arrival turns that same pitch into the root of the new area. Bar 26 the vocal falls back to B3 (the M3 of G) just as the rhythm guitar declares G major underneath it, singer and band voicing the same chord on the same pitch.
From the chart · key Gm. The bridge section is not separately marked in the older sheet, the chart treats the whole song as the Gm / B♭ verse alternation. The E♭4 vocal and the bass chromatic descent are MIDI-only reads.
From the MIDI · all data from Shiner-The Alligator-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 120 BPM. Bars 21–23 rhythm guitar shifts from block-dyad to single-note arpeggio (G2/D3/A3/C4/B3/A3 in rapid 16th notes), serving as the lead-in to the bridge. Bar 24 rhythm guitar plays C3 + G3 + C4 + E4 (C major triad). Bar 26 plays G2 + D3 + G3 + B3 (G major triad). Bar 28 lifts to E♭3 + B♭3 + E♭4 (E♭5). Bass downbeats bars 24–30: E♭3 → C3 → B2 → B2 → G2 → E♭2 → C1, chromatic descent across two octaves. Vocal: bar 21 B3, bar 23 D4 → E♭4 (the new high), bar 24 C4, bar 26 B3 (return to M3 of G), bar 28 D4 → E♭4 again. Source note: the bar-by-bar chromatic bass descent across two octaves (E♭3 → C3 → B2 → B2 → G2 → E♭2 → C1) is the audio-truth MIDI trace at bar resolution; the playable Songsterr chord chart summarizes this region at section level (G / E♭ area) without per-bar bass detail.
G major, Drop C · "I'm an alligator," the same two notes (B and C) recolored three ways · same Gmaj9 stack as the verse: rgtr G+A+D no-3, lead pedals F♯ (M7), voice supplies B (M3) · ♩=120
Chorus, the hook on B and C (audio time t=62-80 s = ~bars 31-40, two G→B♭→G→G/B cycles)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure
Guitar tab, Drop C (C G C F A D low→high), ♩=120, rhythm gtr strums same Gadd9-no-3 voicing on G bars, shifts A-string to fret 1 (B♭) on B♭ bars
D|0---------------|0---------------|0---------------|0---------------|
A|0---------------|1---------------|0---------------|0---------------|
F|0---------------|0---------------|0---------------|0---------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
bar 1 (G) bar 2 (B♭6/9) bar 3 (G) bar 4 (G/B)
G+A+D open G+B♭+D+F (A→1) G+A+D back G+A+D over B bass
Bass tab, Drop C (C G C F low→high), ♩=120, bass walks G1 → B♭1 → G1 → B1 = I → ♭III → I → I⁶
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|0---------------|3---------------|0---------------|4---------------|
C|----------------|----------------|----------------|----------------|
bar 1 bar 2 bar 3 bar 4
G1 (G open) B♭1 (G fret 3) G1 (G open) B1 (G fret 4)
I ♭III I I⁶ (3rd in bass)
The hook repeats two notes, B and C, while the chord swaps underneath. The harmony is the same Gmaj9 stack the verse uses: rhythm guitar plays G + A + D (open-string strum, no 3rd), lead guitar pedals F♯4, the M7 of G, sustained 5.41 s out of every 4-second bar in chorus G section #1 per the audio, climbing to 7.50 s of every 5 seconds in chorus G section #2, and the voice supplies B3, the M3 of G. Stack all three layers across the G chord: G + A + B + D + F♯ = Gmaj9, a full stack: only the rhythm guitar alone withholds the 3rd. When the bass steps to B♭1 (B♭6/9, the ♭III) the rgtr shifts the A-string to fret 1 (B♭3) and the open D and F continue ringing, and the voice steps up to C4, the 9 of B♭; the lead echoes high C5 and B4 in the same range. Then the bass climbs to B1 for G/B, and the sung B3 arrives an octave above the bass note, the tightest point in the cycle, voice and bass on the same pitch class two octaves apart. The repeated hook never touches a root in the voice; it rides the M3 and the 9 while the floor reassigns them. The predatory circling works on B and C precisely because the rgtr withholds both the 3rd and the 7th, leaving the voice and the lead to carry those tones across every chord change.
From the chart · key Gm; the hook moves through Gm and B♭, with a B marker at "I can keep you deep inside a hole." The Gm framing is wrong on chord quality (audio confirms G major, not G minor) but right on the bass roots: G / B♭ / G / B.
From the audio · per-stem measurements from the Moises stems (same source as the verse card). Chorus G section #1 (t=62-67 s), rhythm gtr pitch-class durations: G=3.71 s, A=3.07 s, D=2.83 s (Gadd9-no-3 strum); lead: F♯=5.41 s sustained, B=1.25 s, D=2.39 s. B♭ section #1 (t=67-72 s), rgtr: A=3.40 s, G=2.46 s, D=1.81 s, F=0.95 s, B♭=0.44 s (full B♭6/9 strum with open strings ringing); lead: B=2.38 s, C=1.16 s, F♯=0.75 s. Chorus G section #2 (t=72-77 s), lead pedals F♯ even harder: F♯=7.50 s of the 5-second window. The G chord IS missing its 3rd in the rhythm guitar, the lead IS supplying the M7 (F♯), and the voice IS supplying the M3 (B). Same architecture as the verse, different lyric.
2 · The Alligator , Shiner (outro, chromatic walk ♭VII → ♭VI → VI → I)[stems] · [MIDI] · [Songsterr tabs]
G major, Drop C · the outro is a chromatic walk-up to the I: bass moves F → E♭ → E → G with the rhythm gtr stating F5 → E♭5 → E5 → G5, the same pattern of bare-fifth power chords from the rest of the song, but reaching the cadence on a half-step approach (E → G is a deceptive ♮VI → I, the song's last surprise) · ♩=120 · bars 103–106
Outro, F → E♭ → E → G chromatic cadence (bars 103–106)
Vocal / Rhythm gtr / Bass, aligned by measure (vocal silent through the cadence)
Guitar tab, Drop C (C G C F A D low→high), ♩=120 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
The whole song has avoided clean cadences. The verse rocks between G and B♭ without a V chord, the chorus moves G→B♭→G/B without resolving anywhere, the instrumental break states the triads but doesn't cadence. The outro is the cadence the song was withholding, and it gets there by chromatic walk-up: F (♭VII) → E♭ (♭VI) → E (VI) → G (I). Bass moves F1 → E♭1 → E1 → G1, with the rhythm gtr playing bare-fifth power chords above each bass note. The F → E♭ move is the modal flat-side step the band has been using all album (the same ♭VII → ♭VI move Asleep uses in its chorus, Endless Summer uses in its refrain). The E → G move at the end is the surprise: E is the natural VI of G major, and natural VI → I is a deceptive cadence, a half-step pull below the tonic. The song ends not on a dominant resolve (D → G) but on a vi/♭6 → I half-step, leaving the door open for the major-or-minor question the song has been asking since bar 5.
From the chart · the chord-lyric chart marks the outro lyric ("I can eat you whole, I won't let you go") with chord labels G5 - A#maj7 - F sus4/B - G5 in the FROMMIDI chart (now superseded by per-onset MIDI reading).
From the MIDI · source Shiner-The Alligator-05-05-2026.mid (T7 export). Bars 103–106 bass-low-pitch trace: bar 103 = F1 (8 onsets), bar 104 = E♭1 (8 onsets), bar 105 = E1 then back to E♭1 mid-bar, bar 106 = G1 (8 onsets). Rhythm gtr at each bar plays only root + 5th: bar 103 = C + F (= F5), bar 104 = D♯ + A♯ (= E♭5), bar 105 = E + B (= E5), bar 106 = D + G (= G5). No thirds in the rhythm gtr stack across any of these bars, the cadence is power-chord-only, the chromatic motion does all the work.
3 · The Mutiny , Shiner (intro, lead-gtr B♭5 drone, no bass, no vocal)[stems] · [MIDI] · [Songsterr tabs]
B♭ center, Drop C · the song opens with nothing but the lead guitar holding B♭5 (B♭ + F) for six bars, root + 5th, no third, no bass yet, the tonic is asserted as a bare power-chord drone before anything else enters · ♩=130 · bars 0–5
Intro, lead gtr B♭5 drone alone (bars 0–5)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (vocal silent, rhythm gtr ghost-enters at bar 2.5, bass silent)
No bass tab, bass silent for this section (see V:Bass rest pattern in the staff above).
Lead gtr tab, Drop C (C G C F A D low→high), ♩=130 · sustained B♭3 + F4 (root + 5)
D|3---------------|3---------------|3---------------|3---------------|3---------------|3---------------|
A|1---------------|1---------------|1---------------|1---------------|1---------------|1---------------|
F|----------------|----------------|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|----------------|----------------|
B♭3+F4 sustained, root + 5th, no 3rd (the lead gtr alone for 6 bars before the rhythm gtr enters)
Six bars of one interval. The lead guitar holds F4 + B♭3, an open B♭5 power chord with the root in the bottom voice and the 5th on top, and lets it ring. No bass. No vocal. No rhythm gtr until bar 2.5. The opening establishes B♭ as the tonic on root and 5th only, no third to declare major or minor. When the rhythm gtr joins (bar 3) it doubles the same B♭5 voicing. When the voice enters at bar 18 it arrives on B♭3 and holds it as the rhythm gtr drops to a G♭ major-third dyad (B♭+G♭, no 5th) underneath. The missing third in the intro is what makes the verse's held B♭ vocal entrance carry weight: the listener has been waiting 18 bars for someone to declare the chord quality.
From the chart · the chord-lyric chart begins at the first lyric ("Captain, I believe we've sprung a leak"), which falls at bar 19. The 0–5 intro is not annotated there. The chord-lyric chart prints the playable song body starting at bar 19; the unprinted bar 0–5 opening texture is what this card catches.
From the MIDI · source Shiner-The Mutiny-05-05-2026.mid (T7 export). Bars 0–5 lead gtr plays F4 + A♯3 (= F + B♭) continuously, 4 onsets per beat, 16 onsets per bar; pitch classes in lead = exactly F and A♯ across all 6 bars. Rhythm gtr is silent at bar 0 and bar 1, then plays F+A♯ briefly at bar 2.2 and bar 3.2 (4 onsets each), then silent again. Bass track silent through bar 18. Vocals silent through bar 18. The lead-gtr B♭5 drone is the entire texture for the first 6 bars.
B♭ center, Drop C tuning · one held vocal note, two chords underneath, the note's function shifts without the singer moving · ♩=130
Verse, the voice holds B♭ while the rhythm guitar drops to ♭VI (bars 18–22)
Vocal / Guitar, aligned by measure (no bass in this section, bass enters at bar 38)
Guitar tab, Drop C (C G C F A D low→high), ♩=130, rhythm gtr cycles Gm no-5 (G+B♭+B♭, root position) and G♭(no5, B♭+G♭ dyad)
D|----------------|----------------|2---------------|2---------------|
A|1---------------|1---------------|----------------|----------------|
F|3---------------|3---------------|3---------------|3---------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
bar 18 bar 19 bar 20 bar 21
G2+B♭2+B♭3 G2+B♭2+B♭3 B♭3+F♯4(=G♭4) B♭3+G♭4
= Gm(/B♭) or B♭ = same = G♭ major spelled (B♭=M3 of G♭)
no bass (bass enters bar 38)
No bass tab, bass is silent across bars 18–25 (first bass onset is bar 38).
The voice holds one note, B♭3, across the whole phrase. The rhythm guitar moves underneath: bars 18–19 hold a G2 + B♭2 + B♭3 voicing (G in the low, B♭ on top, a Gm no-5 dyad in root position since G is the bass); bars 20–21 shift to a B♭3 + G♭4 dyad. The voice does not move. The chord drops a major third and the held B♭ recolors from root-area stability over Gm into the major 3rd of G♭. The MIDI shows the upper note as F♯4 enharmonically, but the chord field is flat-side (B♭ → G♭), so the correct spellings are flats throughout. No bass under this section (bass enters at bar 38), so the rhythm-guitar dyad is the whole harmonic frame.
From the chart · B♭ center; the verse moves B♭ to G♭ (flat-side spelling, per the corrected pass).
From the MIDI · all data from Shiner-The Mutiny-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 130 BPM. Bass range C1–B♭2 confirms Drop C (not Drop D as the earlier card claimed). Vocal holds on B♭3 (MIDI 58 = A♯3 enharmonic) throughout the verse. Rhythm guitar plays G2/B♭2/B♭3 in bars 18–19, then B♭3/F♯4 in bars 20–21, the held-note function shift from root to major 3rd is the MIDI read. Bass is silent across bars 18–25; the first bass note in the song is at bar 38.
B♭ center, Drop C tuning · the chorus finally arrives on the tonic, bass walks F → B♭, vocal sings the 5–3–5–3 hook over B♭, the rhythm guitar holds a rootless F/C voicing that re-colors as B♭add9 when the bass shifts · ♩=130
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=130, one voicing across both chords
D|3---------------|3---------------|3---------------|3---------------|
A|3---------------|3---------------|3---------------|3---------------|
F|0---------------|0---------------|0---------------|0---------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|0---------------|0---------------|0---------------|0---------------|
C2+F3+C4+F4 ← bass F → C2+F3+C4+F4 ← bass B♭ →
over F bass:F5 bar 93 still F over B♭ bass reads as B♭add9
doubled at 8va = B♭add9
Bass tab, Drop C (C G C F low→high), ♩=130
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|3---------------|3---------------|
C|5---------------|5---------------|----------------|----------------|
F1 (V) F1 B♭1 (I) B♭1 (sustained)
The verse held one B♭3 vocal note over a G♭ third-flicker. The chorus does what the verse refused to: it arrives on the tonic. The bass walks F1 → B♭1 (V → I, the V cadence into the home root) and stays on B♭1 once it arrives. The rhythm guitar plays a curious held voicing, C2 + F3 + C4 + F4, pitch classes C and F only, no 3rd, which reads as F5 doubled at the octave while the bass is on F (bars 92–93), then recolors as B♭add9 the moment the bass shifts to B♭ (the same C + F notes now spell B♭'s 9 + 5). The vocal arrives on the hook: F4 → D4 → F4 → D4 across bar 94, a clean 5–3–5–3 of B♭ major, the most diatonic vocal phrase on the song. Then bar 95 walks D → B♭ → D → B♭ → E♭ → C (3–1–3–1–4–9 of B♭), the same chord-tone vocabulary plus the 4 and 9 as upper-neighbor color. The signature trick, one rhythm-guitar voicing serving two different chords as the bass moves underneath, is the same trick verse held one note over (B♭ → G♭), now flipped: the chord moves while the voicing stays put, and the vocal finally states the home triad. The chorus's spine: F1 to B♭1 under a held C + F guitar shape; the grip reads first as F5, then as B♭add9, and the voice sings F and D over the arrival, finally giving B♭ its 5th and M3.
From the chart · key B♭. The practical chord-lyric sheet labels bars 94–97 at block level as F5 → B♭ → B♭sus4(C,D,G) → B♭aug(C,E♭) (the MIDI reads the last two as B♭6/9 and B♭sus(add9): C+D+G over B♭ holds the M3 D, not a sus4, and C+E♭ has no ♯5, so neither is the chart's named quality), with the vocal entering at bar 95 on F+D ("Who would think"). The chart does not annotate the bar-level "same C + F voicing recolors from F5 to B♭add9 as the bass walks F1 → B♭1" reading, that recoloring is the audio-truth MIDI trace from the rhythm-guitar plus bass per-bar pitch-class extraction.
From the MIDI · all data from Shiner-The Mutiny-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 130 BPM. Bass walks F1 (bars 92–93) → B♭1 (bar 94+, sustained). Rhythm guitar holds C2 + F3 + C4 + F4 throughout (no 3rd, same voicing across both bass roots). Vocal bar 94: F4 → D4 → F4 → D4 (5–3 hook over B♭). Bar 95: D4 → B♭3 → D4 → B♭3 → E♭4 → C4. Bar 96–97: D4–B♭3 hook repeats. Vocal is octave-doubled in the MIDI export (D3 + D4 etc.); upper octave is the actual sung pitch.
B♭ center shifts to A♭ (♭VII) for the bridge · bass holds A♭1 with D1 tritone visits (the song's signature dissonance returns in the bass), the voice sustains E♭4 (the 5 of A♭) and C4 (the M3 of A♭), with C♯4 as the chromatic upper neighbor · Drop C, ♩=130
Bridge, A♭ floor, vocal holds the 5 and M3 of A♭ (bars 62–69)
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=130, A♭5 held
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|3---------------|3---------------|3---------------|3---------------|
C|----------------|----------------|----------------|----------------|
G|8---------------|8---------------|8---------------|8---------------|
C|8---------------|8---------------|8---------------|8---------------|
A♭5 (♭VII of B♭) same same same, bass tritone D below
Bass tab, Drop C (C G C F low→high), ♩=130, A♭1 with D1 tritone visits
The verse pinned one B♭ vocal across a G♭ third-flicker; the chorus settled on B♭ as the tonic with a 5–3 hook; the bridge moves the floor a whole step down to A♭ (♭VII of B♭). The rhythm guitar holds A♭5 (A♭2 + E♭3 + A♭3) while the bass plants A♭1 with periodic D1 visits, D1 is the tritone of A♭, a cousin of the verse's flicker (B♭3 + F♯4 was B♭ + ♭6, the G♭ rub, not a tritone), now transposed onto the bridge's new floor. The voice sings E♭4 (the perfect 5th of A♭) sustained at bar 62, then walks C4 (the M3 of A♭) across bars 63–65, with C♯4 as a chromatic upper neighbor visiting twice (bars 64.12 and 67.25). The C♮ ↔ C♯ flicker is the bridge's miniature version of the verse's B♭ ↔ G♭ flicker: the band finds a way to put major-against-minor friction on every section of the song, just in different positions on the keyboard.
From the chart · key B♭. The chord-lyric sheet's bridge contains a slower, more reflective passage.
From the MIDI · all data from Shiner-The Mutiny-05-05-2026.mid. Tempo metaevent 130 BPM. Bars 62–69 rhythm guitar holds A♭2 + E♭3 + A♭3 (A♭5 power chord). Bass plants A♭1 across bars 62–69 with chromatic D1 visits at bars 61.75, 65.75, 69.75 (the tritone of A♭). Vocal bar 62: E♭4 sustained (3 attacks). Bar 63: C4 (3 attacks). Bar 64: C4 → C♯4 chromatic lift. Bar 66: E♭4 → C♯4 → C4 walk. Bar 67: same pattern. Bar 70 returns to F1 bass (preparing the chorus return).
3 · The Mutiny , Shiner (outro, B♭maj7 fade, the M7 finally stated)[stems] · [MIDI] · [Songsterr tabs]
B♭ center, Drop C · the song closes by finally adding A natural (the major 7th) to the rhythm gtr, for the entire song the third has been withheld in the gtr; in the outro the gtr stack becomes F + A + B♭ = B♭maj7, releases to plain B♭5, then a single final bass B♭1 closes · ♩=130 · bars 130–134
Outro, B♭maj7 sustained, then final B♭5 with bass hit (bars 130–134)
Vocal / Rhythm gtr / Bass, aligned by measure (vocal silent through the fade)
No bass tab, bass silent for this section (see V:Bass rest pattern in the staff above).
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=130 · bar 130 + 131 = B♭maj7 voicing (B♭3 + A3 + F4); bar 132 = B♭5 only; bar 133 = B♭maj7 returns briefly; bar 134 = final B♭5 + bass
The song's whole project has been withholding the third. The verse held bare B♭5 power chords (root + 5, no 3rd), then flickered to a G♭ major-third dyad (B♭+G♭, no 5th). The voice supplied the M3 (B♭ as the M3 of G♭) and the root (B♭ as the root of B♭5), and the gtr never declared its own quality. The outro is the release: for two bars the rhythm gtr adds A natural to the B♭5 voicing, making B♭ + F + A = B♭maj7. That A natural is the major 7th the song has refused to state. It is a half-step below the root, the most-tension diatonic tone in B♭ major, and the band states it as a release, the song spent four minutes withholding this color, and the outro just sustains it for two bars without comment. Then the A drops out (bar 132 returns to plain B♭5), then comes back briefly (bar 133), then the bass enters at bar 134 with a single low B♭1 under the final B♭5, the only bass note in the outro. The chord that closes the song is B♭5, not B♭maj7. The M7 was the moment, not the resting place.
From the chart · the chord-lyric chart ends at the final lyric ("The sun is rising as we disappear") at bar ~118 (FROMMIDI estimate). Bars 119–134 are post-vocal instrumental fade and are not annotated.
From the MIDI · source Shiner-The Mutiny-05-05-2026.mid (T7 export). Bars 130–131 rhythm gtr pitch classes: F, A, A♯ (= F + A + B♭), 16 onsets per bar, A natural is present and sustained. Bar 132 rhythm gtr: F, A♯ only (no A), B♭5 alone. Bar 133 rhythm gtr: F, A, A♯ returns. Bar 134 rhythm gtr F + A♯ and bass A♯1 enters (1 onset at bar 134.0), the only bass note in the outro section. Lead gtr is silent from bar 130 through the end.
4 · So Far So , Shiner (intro, bass D pedal alone, 7 bars before voice enters)[stems] · [MIDI] · [Songsterr tabs]
D center, Drop C · the song opens with the bass alone playing a D pedal in octaves (D1 alternating with D2) for seven bars, no rhythm guitar, no lead, no vocal, before the voice enters at bar 7 with A and G over the held D · ♩=130 · bars 0–3 of the 7-bar opening
Intro, bass D pedal alone (bars 0–3 of the 7-bar opening)
Vocal / Rhythm gtr / Bass, aligned by measure (only the bass plays for 7 bars; voc enters bar 7 on A)
Guitar tab, Drop C (C G C F A D low→high), ♩=130 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
Bass tab, Drop C (C G C F low→high), ♩=130 · D1 (low-C string fret 2) + D2 alternating octaves
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|------7---------|------7---------|------7---------|------7---------|
C|2-------2-------|2-------2-------|2-------2-------|2-------2-------|
D1 D2 D1 D1 D2 D1 D1 D2 D1 D1 D2 D1
= D pedal in octaves for 7 bars before vocal entry at bar 7
The song opens with nothing but the bass. Seven bars of D1 alternating with D2, a one-note pedal in octaves, and no other instrument plays. The chord identity hasn't been declared; the listener just hears a bass note flickering between its low and middle register. The harmonic field implied is D (could be major, minor, modal, the third hasn't been stated), and the song doesn't commit until the vocal enters at bar 7 with A (the 5 of D) and G (the 4 of D), neither of which declares the chord's quality. The rhythm guitar enters much later (around bar 15) with the actual chord stack. The intro is the song delaying every harmonic decision, bass states the root for seven bars, voice adds the 4 and 5 but not the 3, rhythm gtr withholds its voice entirely.
From the chart · the chord-lyric chart begins at the first lyric ("I've been saved"); the 0–6 bass-only intro is not annotated.
From the MIDI · source Misc Covers-_So Far So_ by Shiner My Edits-06-03-2026.mid (today's GP8 export, copied to BELIEVEYOUME/sofarso-06-03-2026.mid). Tempo metaevent 130 BPM. Bars 0–6 bass-only trace: D1 (MIDI 26) ×21 onsets + D2 (MIDI 38) ×7 onsets, alternating roughly D1 on beats 1+3 and D2 on beats 2+4. No other PCs in the bass. Rhythm gtr silent through bar 14. Lead silent through bar 14. Vocals first onset at bar 7 on A3, then G3, the 5 and the 4 of D. The "today's GP8" file supersedes the earlier T7 transcription; this is the canonical source for the So Far So cards from today forward.
Verse one is bass and voice alone, no guitars · the bass pedals on D in Drop C (D1 alternating with D2 an octave up), the voice circles A G C over it, a D mixolydian / D modal field with no 3rd in play yet · ♩=130
Verse one, bass + voice, no guitars (bars 7–14, the D pedal)
Vocal / Bass, aligned by measure (Drop C bass: C1 G1 C2 F2)
No guitar tab, rhythm guitar silent for this section (see V:Gtr rest pattern in the staff above).
Bass tab, Drop C (C G C F low→high), ♩=130 · D1 = low C string fret 2; D2 = high C string fret 2
F|----------------|----------------|----------------|----------------|----------------|----------------|----------------|----------------|
C|--------2-------|--------2-------|--------2-------|------2---2-----|------2---2-----|------2---2-----|------2---2-----|------2---2-----|
G|----------------|----------------|----------------|----------------|----------------|----------------|----------------|----------------|
C|2-----2-------2-|2-----2-------2-|2-----2-------2-|2-----------2-2-|2-----------2-2-|2-----------2-2-|2-----------2-2-|2-----------2-2-|
bar 7 bar 8 bar 9 bar 10 bar 11 bar 12 bar 13 bar 14
D pedal: D1 (low C string fret 2) dotted-quarter syncopates with D2 (high C string fret 2) an octave up → bars 10–14 tighten: D1 quarter, eighth rest, D2 quarter+eighth, two D1 eighths close the bar
Verse one is bass and voice alone, no guitars. The bass plays a syncopated pedal on D in Drop C tuning, alternating D1 (low C string fret 2) on the dotted-quarter with D2 (high C string fret 2) an octave up, same pitch class, two registers. Bars 7 through 9 use the steady "dotted-quarter D1, eighth D1, dotted-quarter D2, eighth D1" pattern. From bar 10 the rhythm tightens: D1 punches a quarter, an eighth rest, then D2 quarter into D2 eighth, then two D1 eighths close the bar. The voice enters at bar 7 beat 3 with A3 A3 G3, "I've been saved." Bar 8 carries that into G3 G3 C4, "I've been blamed," arriving on C4, the highest pitch in the phrase. Bar 11 starts the next phrase at A3 dotted-quarter with a step down to G3, bar 12 inverts it as G3 lifted to A3 sustained, "I've paid the cost." The voice rides three pitch classes, A G C, over a one-note bass on D. Scale degrees over D: A = 5, G = 4 (a sus-4 brush), C = ♭7 (the mixolydian color). With no guitar to declare the 3rd, verse one reads as D mixolydian or D modal pentatonic: D is the root by force of the bass pedal, but major-or-minor is withheld until the F♯ arrives in the later verse.
From the chart · The chord-lyric sheet on file opens this verse with: "I've been saved / I've been blamed / I got lost / I've paid the cost / I've been washed." The sheet marks the song as a D center in Drop-D tuning. The D-center read is correct, the bass pedals on D throughout this verse. The Drop-D tuning claim is wrong, the song is in Drop C on both guitar and bass (verified from today's Songsterr export). Lyric mapping (3 syllables on bar 7 = "I've been saved", 3 on bar 8 = "I've been blamed", 4 across bars 11–12 = "I've paid the cost") read from the chord-lyric sheet.
From the MIDI · Music data read from Shiner-_So Far So_-06-02-2026.gp, today's Songsterr Guitar Pro 8 export, cross-checked against the Songsterr MIDI capture 5110187 So Far So.mid (2026-05-29) and the T7 export Shiner-_So Far So_-04-24-2026.mid (2026-04-24). All three sources agree on the D pedal bass and the A3/G3/C4 vocal. Bass tuning 24 31 36 41 = Drop C (C1 G1 C2 F2). Guitar tuning 36 43 48 53 57 62 = Drop C (C2 G2 C3 F3 A3 D4). Tempo 130 BPM.
D major, Drop C tuning · the rhythm guitar enters with a brief lead-in, then settles to a D5 power chord (D2-A2-D3) held over the continuing D bass pedal · the voice walks A3 → G3 → F♯3, with F♯3 = M3 of D declaring the key major · ♩=130
Later verse, rhythm guitar's D5 power chord, the vocal walks down to F♯3 (bars 20–24)
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=130 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
Bass tab, Drop C (C G C F low→high), ♩=130 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
The rhythm guitar finally enters. Bar 20 is a brief lead-in figure (a 4-note cluster held a half note into two quarters), then from bar 21 the rhythm guitar settles to a D5 power chord, D2 + A2 + D3, root + 5th + octave, held as whole notes across bars 21 through 24. The bass keeps the verse-one D pedal underneath (now in the tightened bar-11-onward pattern). With both the bass and the rhythm guitar planted on D and no 3rd in either, the chord is D no-3, the same mode-ambiguity as verse one. The voice resolves it. It walks A3 → A3 → G3 → F♯3 across bar 21 and rests on F♯3 through bar 22. F♯ is the major 3rd of D, the pitch the power chord refuses to declare, so the voice quietly tips the quality to D major. Bar 24 the voice leaps to D4 (the root, an octave above the bass) then falls to A3 (the 5th), closing the phrase. The F♯ in the voice does the same harmonic work as the D in Broken Satellites and the B over G in The Alligator: a vocal note completing the chord the band withholds.
From the chart · the chord-lyric sheet's "I've been washed / 'Cause I been saved" lyric arrives in this area. The sheet's "D center" claim is confirmed by the GP8 source: this section's rhythm guitar plants a D5 power chord, and the vocal's F♯ tips the quality to D major.
From the MIDI · All data from Shiner-_So Far So_-06-02-2026.gp (today's Songsterr GP8 export), cross-checked against the Songsterr MIDI capture 5110187 So Far So.mid. Tempo 130 BPM. Bars 21–24 rhythm guitar holds D2 + A2 + D3 (D5 power chord) as whole notes. Bar 20 has a brief lead-in: a half-note 4-note cluster (E3, A♯3, C♯4, D4) into D3 quarter + E3 quarter (present in today's GP8; the May-29 capture shows only the D3/E3 quarters, so the cluster may be a recent tab edit). Bass continues the D pedal in the bar-11-onward pattern. Vocal bar 20: rest, A3 sustained. Bar 21: A3 A3 G3 F♯3. Bar 22: F♯3 sustained. Bar 24: D4 A3. The bar-20 cluster has no clean chord label, reads as a chromatic transitional figure leading into the D5 power chord at bar 21.
The chorus modulates from D verse to B♭ chorus, a ♭VI mediant drop · the bass plants on B♭1, the rhythm guitar voices B♭maj7 (with octave D on top) softening to B♭add9, the lead guitar holds D → C (M3 → 9 of B♭), and the vocal climbs to G4, the M6 of B♭, the song's highest sung pitch · Drop C, ♩=130
Chorus, "So far so,", B♭ pedal arrives, vocal climbs to G4 (bars 55–58)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=130, B♭maj7 (bar 55 + oct D) → B♭maj7 → B♭add9 (M7 drops out, 9 enters)
D|0---------------|----------------|----------------|----------------|
A|0---------------|0---------------|3---------------|3---------------|
F|0---------------|0---------------|0---------------|0---------------|
C|2---------------|2---------------|2---------------|2---------------|
G|3---------------|3---------------|3---------------|3---------------|
C|----------------|----------------|----------------|----------------|
bar 55 bar 56 bar 57 bar 58
B♭2 D3 F3 A3 D4 B♭2 D3 F3 A3 B♭2 D3 F3 C4 (B♭add9: C4 on A-string fret 3) held into bar 58
B♭maj7 + oct D B♭maj7 (no top) B♭add9, M7 (A3) drops out, 9 (C4) enters → softer voicing
Bass tab, Drop C (C G C F low→high), ♩=130, B♭1 pedal + bar-58 walk (G1 → D2 ×4 → A1 ×3 = M6 → M3 → M7 of B♭)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|--2-2-2-2-------|
G|3---------------|3---------------|3---------------|0---------2-2-2-|
C|----------------|----------------|----------------|----------------|
bar 55 bar 56 bar 57 bar 58
B♭1 (G string fret 3) repeated eighths → G1 (open G), D2 (high C fret 2) ×4, A1 (G fret 2) ×3
The chorus is the song's biggest move. The verse held a D pedal in the bass and reached D major via the vocal F♯; the chorus drops a minor third to B♭, a ♭VI mediant motion from the verse's D. The bass plants on B♭1 (G string fret 3) and pulses repeated eighths for three bars. The rhythm guitar voices a 5-note B♭maj7 with the octave M3 doubled on top, B♭2 + D3 + F3 + A3 + D4 (root, M3, 5, M7, octave-M3), across bar 55, then drops the high D4 for a 4-note B♭maj7 in bar 56. On the last eighth of bar 56 the voicing morphs: the M7 (A3) drops out, the 9 (C4) enters, turning it into a B♭add9, B♭2 + D3 + F3 + C4, held through bars 57 and 58. The lead guitar mirrors the top-note move: D4 sustained eighths in bar 55, then C4 sustained eighths from bar 56 onward (M3 → 9 over B♭, the same shape the rhythm guitar is making in its voicing's top voice). The voice waits through bar 55, then climbs across bar 56, C4 → D4 → D4 → F4 → G4, a 2-3-3-5-6 climb in B♭. It tops out on G4 = the M6 of B♭, sustaining through bar 57, the highest sung pitch in the song, more than an octave above the verse's F♯3 peak. The climb then repeats in bar 58 over the bass walk. The bar-58 bass leaves B♭ and walks G1 → D2 (×4 eighths) → A1 (×3 eighths), degrees M6 → M3 → M7 of B♭, the M7 (A1) leading back to the root for the next pass. The chorus's whole effect lives in the gap: D verse to B♭ chorus is a chromatic-mediant jump that drops the bass a minor third while sending the voice up by a M6 + octave, so the singer climbs into a higher key the band has slipped under them.
From the chart · the chord-lyric sheet's "So far so," hook arrives in this section. The sheet states a D center for the verse and does not state the chorus key change. The bass dropping a minor third (D → B♭) at this section is the chord motion the sheet misses.
From the MIDI · All data from Shiner-_So Far So_-06-02-2026.gp (today's Songsterr GP8 export), cross-checked against the Songsterr MIDI capture 5110187 So Far So.mid. Tempo 130 BPM. Bars 55–57 bass holds B♭1 (GP8 ConcertPitch A♯2 = sounding A♯1 = enharmonic B♭1) as 8 eighth-note repeats per bar. Bar 55 rhythm guitar plays B♭2 + D3 + F3 + A3 + D4 (B♭maj7 with octave M3 doubled on top). Bar 56 drops the high D4, voicing is B♭2 + D3 + F3 + A3 (B♭maj7) for 7 eighths, then on the last eighth the M7 (A3) drops out and the 9 (C4) enters: B♭2 + D3 + F3 + C4. Bars 57–58 hold that B♭add9 voicing. Lead guitar plays D4 repeated eighths in bar 55 (= M3 of B♭), then C4 repeated eighths from bar 56 onward (= 9 of B♭). Vocal bar 56: C4 → D4 → D4 → F4 → G4 (2-3-3-5-6 climb). Bar 57: G4 half + quarter (the song's high). Bar 58: same climb repeats over the bass walk. Bar-58 bass: G1 eighth, D2 × 4 eighths, A1 × 3 eighths = M6 → M3 → M7 of B♭. G4 = MIDI 67 (chest-voice high for a male rock vocalist; the earlier card's G5 = MIDI 79 was the GP8 ConcertPitch label, one octave above the sounding pitch).
4 · So Far So , Shiner (bridge, Am/E, the third tonal center)[stems] · [MIDI] · [Songsterr tabs]
A minor over E pedal, Drop C · the bridge moves the bass to a new pedal, E2, and stacks an A minor triad (A3+C4+E4) in the rhythm gtr, lead gtr, and vocal · the chord is Am/E, A minor in second inversion (i⁶₄), the song's third tonal center after the verse's D and chorus's B♭ · in D-key terms this is v of D minor with E in the bass as the 2nd of D; in A-minor terms this is i⁶₄ with the 5th (E) in the bass · ♩=130 · bars 102–105 of the bridge section
Bridge, Am/E with vocal triad-spelling A3+C4+E4 (bars 102–105)
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=130 · A3+C4+B4 cluster (Am add9) sustained for 3 bars, opens to E2+A2+A3+C4+E4 (Am/E full voicing) bar 105
D|----------------|----------------|----------------|0---------------|
A|2---------------|2---------------|2---------------|0---------2-2-2-|
F|10--------------|10--------------|10--------------|----------------|
C|10--------------|10--------------|10--------------|10--------------|
G|----------------|----------------|----------------|2---------------|
C|----------------|----------------|----------------|----------------|
bar 102 bar 103 bar 104 bar 105
A3+C4+B4 (Am add9) same same Am/E full: E2+A2+A3+C4+E4
Bass tab, Drop C (C G C F low→high), ♩=130 · E2 pedal repeated, bar-105 C2 lift on last eighth
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|--------------2-|
G|7---------------|7---------------|7---------------|7---------------|
C|----------------|----------------|----------------|----------------|
bar 102 bar 103 bar 104 bar 105
E2 (G string fret 7) eighths → E2 eighths + C2 (high C fret 2) tail
The bridge is the song's third tonal center. The verse pedaled on D. The chorus dropped a minor third to B♭. The bridge moves up a major second from B♭ to E, and the upper voices spell out A minor on top of that E. The result is Am/E, an A minor triad in second inversion, the same A-C-E triad sounding from rhythm gtr (A3+C4+B4 cluster, Am with an added M9 / extra B), lead gtr (A4+E5 open 5th), and voice (E4+A3+C4 = root + ♭3 + 5 in inverted order). Functionally this works two ways at once. Read against the verse's D center, the bass note E is the 2nd of D, and the chord Am is v in D minor, the minor chord on D's 5th degree, a deceptive arrival point that refuses to commit to either parallel mode. Read as its own key, A minor over E bass is i⁶₄, with E being the dominant scale degree below the tonic, a half-cadence sound, perpetually pending. The bass holds E for 4 bars before lifting a half-step to F at bar 108 (the leading-tone-to-the-next-section move), then the F walks down to B♭ at bar 110, ushering in the final chorus. So the bridge is harmonically the song's most unresolved zone, bass on E pedal, upper voices spelling A minor, neither the D verse nor the B♭ chorus key, suspended between modes for 8 bars. The voice spells the triad directly (E + A + C), which is the only place in the song where vocal pitches lay out a complete chord on their own without depending on what the guitars are doing underneath.
From the chart · the chord-lyric sheet's "I've seen the change in me" lyric likely falls in this section; the sheet marks D center but does not flag the E-pedal bridge or its A-minor upper voices.
From the MIDI · All data from sofarso-06-03-2026.mid (today's GP8 export, copied to BELIEVEYOUME/). Tempo 130 BPM. Bars 102–104 bass = E2 repeated eighths (low-C string fret 2 + 5 = G string fret 7 = E2 on Drop C). Rhythm gtr bars 102–104 holds A3 + C4 + B4 cluster (A minor with an added M9; the B4 above the C4 creates a half-step rub against the minor 3rd). Lead gtr same. Vocal first onset bar 103: E4 + A3 + C4, the full A-minor triad in voice. Bar 105 the rhythm gtr opens to a wider 5-note voicing: E2 + A2 + A3 + C4 + E4 = Am/E with the bass pedal note doubled inside the chord. Bass adds a C2 tail on the last beat. Bar 108: bass lifts to F2 (half-step neighbor up from E). Bar 109: bass walks F2 → C2 → B♭1, ushering in the final chorus at bar 110. The bridge is 6 bars of E-pedal Am/E + 2 bars of F lead-in = 8 bars total.
4 · So Far So , Shiner (outro, bass alone, C+D semitone clang, ending unresolved)[stems] · [MIDI] · [Songsterr tabs]
D center with ♭7 in the bass, Drop C · the song closes the way it opened, bass alone, no guitar, no vocal, but with a key addition: a C1 below the D2 in the bass · the resulting two-note bass voicing is C + D, root + ♭7 of D, held for 4 bars before total silence · in the intro the bass played D pedal in octaves with no other pitch; in the outro the bass adds the ♭7 of D below the root, leaving the song hanging on a D7 sound with no chord above · ♩=130 · bars 135–138 of the 5-bar outro
Vocal / Rhythm gtr / Bass, aligned by measure (only the bass plays for 4 bars; total silence on bar 139)
No guitar tab, rhythm guitar silent for this section (see V:Gtr rest pattern in the staff above).
Bass tab, Drop C (C G C F low→high), ♩=130 · C1 (low-C string open) + D2 (G string fret 7) sustained whole notes
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|7---------------|7---------------|7---------------|7---------------|
C|0---------------|0---------------|0---------------|0---------------|
bar 135 bar 136 bar 137 bar 138
C1+D2 held same same same
(the C1 is the new pitch the intro didn't have, adds ♭7 of D below the D root)
The outro mirrors the intro structurally, bass alone, no rhythm gtr, no lead gtr, no vocal, but the bass plays a different chord than the intro did. The intro held a D pedal in octaves (D1 + D2) for 7 bars, a single pitch in two registers, no other note implied. The outro holds C1 + D2 sustained for 4 bars, then total silence on bar 139. That added C1 below the D2 is the ♭7 of D, and the resulting two-note bass voicing is the bottom half of a D7 chord with no upper structure to confirm which mode it implies (D7 dominant? D minor 7? D7sus?). The song refuses to close. The intro deferred every harmonic decision by playing only the root; the outro deferred them in a different way, by playing the root and the ♭7 with no 3rd to tell you the quality. Bar 134 (the bar before the C+D sustain) plays a 3-note chromatic bass cluster C1 + C♯1 + D1 + D2, a passing-tone walk into the held outro voicing, then everything except C1 + D2 drops out for the four-bar fade. The song's last sound, before complete silence, is the bottom two notes of a dominant 7 chord without resolution.
From the chart · the chord-lyric sheet ends at the last lyric of the final chorus; the bass-only outro (bars 135–138) is not annotated.
From the MIDI · All data from sofarso-06-03-2026.mid. Tempo 130 BPM. Bar 134 bass plays a chromatic cluster C1 + C♯1 + D1 + D2 (low-C string open, fret 1, fret 2, plus G string fret 7) as a quarter+quarter+half passing figure. Bars 135–138 bass holds C1 + D2 as sustained whole notes for 4 bars. Rhythm gtr silent from bar 134 onward (last rhythm gtr onsets in bar 133). Lead gtr silent from bar 134 onward. Vocals silent from bar 134 onward (last vocal onset bar 134 F3+D3). Bar 139: all tracks silent, song ends. The C+D semitone clang in the bass is audible as two distinct pitches a major 7th apart (C1 = MIDI 24, D2 = MIDI 38 = 14 semitones apart). Reading the C1 as the ♭7 of D yields a D7 / D9-no-3 / D Mixolydian context; reading the D2 as the 9 of C yields a Cadd9 / Csus2 context. The MIDI data alone supports either, without a 3rd in the upper voices, the song refuses to pick.
5 · My Mirror Hates Me , Shiner (intro, E pedal + D droning, no lead, no vocal)[stems] · [MIDI] · [Songsterr tabs]
E center, Standard tuning · the intro is 8 bars of rhythm gtr playing D + E continuously over E1 bass pedal, the song's entire harmonic field stated as a sustained drone (root + ♭7, no third) before the lead gtr starts the contested-third flicker at bar 8 · ♩=114 · bars 0–7 (MIDI 0-indexed)
Intro, E + D drone alone (bars 0–7)
Vocal / Rhythm gtr / Bass, aligned by measure (no vocal, no lead gtr, the harmonic field is stated as two notes only)
Bass tab, Drop C (C G C F low→high), ♩=114 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
Rhythm gtr tab, Standard tuning (E A D G B E low→high), ♩=114 · D-string open + B-string open (D3 + E3)
e|----------------|----------------|----------------|----------------|
B|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
G|----------------|----------------|----------------|----------------|
D|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
A|----------------|----------------|----------------|----------------|
E|----------------|----------------|----------------|----------------|
D + E sustained, the open D string and the open B string ring together (D3 + E3 = the ♭7 + root of the E pedal)
The whole song is the question "is this E major or E minor?". The intro doesn't ask the question yet, it just states the root and the ♭7 and leaves them ringing. Rhythm gtr plays D + E (open D-string + open B-string in standard tuning), no third, for eight unbroken bars. Bass holds E1 underneath. No lead guitar, the contested-G♮-vs-G♯ third doesn't enter until bar 8. No vocal, the singer doesn't show up until bar 9. The intro is the song refusing to begin: it sustains the two notes that have no harmonic information (root + ♭7 = an "open" sound) until the lead gtr finally plays a G♯ at bar 8 and asks the major-vs-minor question that drives the rest of the song.
From the chart · the chord-lyric chart begins at the first lyric (~bar 9). The 0–7 intro is not annotated there.
From the MIDI · source Shiner-MyMirrorHatesMe-FROMCDN.mid. Tempo metaevent 120 BPM (Songsterr displays ♩=114 for the published tab, half-time felt vs notated). Bars 0–7 rhythm gtr pitch classes = exactly D and E (2 onsets per beat = 8 onsets per bar, all on D and E alternating per quarter). Bass-low-pitch trace: E1 on every beat across bars 0–7, no other bass pitches. Lead guitar silent through bar 7; first lead onset at bar 8.0 on G♯3 (the major 3rd that begins the contested-third flicker). Vocals silent until bar 9.0 on B3 (the 5 of E).
5 · My Mirror Hates Me , Shiner (verse, the contested third over the E pedal)[stems] · [MIDI] · [Songsterr tabs]
E center, Standard tuning (E A D G B E) · a fixed floor whose third will not settle, major against minor · the verse is the song's long held E-pedal active section where the contested-third pattern dominates · ♩=114
Verse, the contested third over the E pedal (bars 41–47)
Vocal / Guitar / Bass, aligned by measure
Guitar tab, Drop C (C G C F A D low→high), ♩=114 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
The bass holds E for nearly the whole song, and the guitar keeps a D, the ♭7, droning over it (the most-played guitar note). What changes is the third, and it refuses to commit: the guitar flickers between G♮ (E minor) and G♯ (E major), 133 against 144 times across the song, neither winning. The voice does not waver. It sings G♯ (29×) against G♮ (15×), picking the major third almost two-to-one. So the song's central tension lives inside the guitar, while the voice quietly insists on E major above it. The song never moves its floor and never decides its own quality. The singer alone keeps choosing the brighter third, four chorus repeats deep, and the band keeps refusing to follow.
From the chart · a lyric-only pass (no MIDI then) guessed power chords E5, D5, B5 and an Am7 cadence.
From the MIDI · the local FROMCDN file has a Vocals track and shows none of the chart's guess: an E pedal throughout, a constant ♭7 (D), and a third flickering G♯ (144×) against G♮ (133×) in the rhythm guitar. No D5/B5 root motion, no Am7. Vocal G♯ (29×) outnumbers vocal G♮ (15×), so the voice picks the major third nearly 2:1. The earlier-card claim of a "vocal G♯ over guitar G♮ rub" is not supported by this MIDI, zero bars contain both events simultaneously; the third-flickering is internal to the guitar. Bass low note E1 and rhythm guitar low note E2 confirm Standard tuning (Songsterr ♩=114 matches); no C usage anywhere, so this is the only BELIEVEYOUME song NOT in Drop C.
5 · My Mirror Hates Me , Shiner (chorus, bass arpeggio + vocal chromatic walk)[stems] · [MIDI] · [Songsterr tabs]
E minor, Standard tuning · the chorus finally reveals the song is in Em, the bass leaves its pedal and arpeggiates E – B – G – D (i – v – ♭III – ♭VII) while the vocal does a chromatic walkdown that touches every pitch class in the octave · ♩=114
Chorus / bridge, the chromatic vocal descent over an Em7 arpeggio (bars 48–51)
Vocal / Bass, aligned by measure (no guitar staff: the guitar mostly drops out of the contested-third role here and the chorus is bass + vocal)
No guitar tab, the chorus drops the guitar to a sparse texture, so the bass + vocal carry the section. Bass tab below.
Bass tab, Standard tuning (E A D G low→high), ♩=114, Em7 arpeggio (i v ♭III ♭VII)
The verse held one E pedal under a contested major-vs-minor third. The chorus does the opposite of both: the bass finally leaves the E pedal and arpeggiates an Em7 spread, E1 → B1 → G1 → D2 (i – v – ♭III – ♭VII, quarter notes), the cleanest E-minor statement in the song. And while the bass is laying down the most diatonic move on the record, the voice does the least diatonic move: it lifts to E♭4 (= D♯4, the enharmonic major 7 / leading tone of E) at bar 48, a chromatic neighbor a half-step below the root, the most foreign tone to E minor, then in bar 49 walks a full chromatic descent across the octave: B♭ → A → A♭ → G → F♯ → F♮ → E → E♭, eight half-steps in a rapid 32nd-note glissando. Where the verse asked "is this major or minor?" by holding G♮ vs G♯ in the guitar, the chorus answers "all twelve tones are available" by walking every chromatic step in the vocal. Bar 50–51 arrives on F♯4 (the 9), then falls F♯ → F♮ → E, the chromatic descent in miniature, the same idea compressed. The song's whole project, the third refuses to settle, is here turned into the vocal's whole melodic surface.
From the chart · key Em (per the existing My Mirror card). The chord-lyric sheet treats the song as a power-chord vamp; it does not mark a chorus chromatic descent.
From the MIDI · all data from Unknown Artist-My Mirror Hates Me-05-29-2026.mid (Songsterr export, 05-29-2026). Tempo metaevent 114 BPM. Bars 48–51 bass plays E1 (beat 1) → B1 (beat 3) → G1 (next bar beat 1) → D2 (next bar beat 3) in clean half-note arpeggiation, the Em7 spelling. Bar 48 vocal starts on E♭4 (MIDI 63) sustained, then bar 49 walks rapidly through B♭3 / A3 / A♭3 / G3 / F♯3 / F♮3 / E3 / E♭3 in 32nd notes. Bar 50–51: F♯4 (the 9 over E), then F♮4, then E4. The chromatic descent and the Em7 bass arpeggio are both literal MIDI reads.
5 · My Mirror Hates Me , Shiner (bridge, the bass FINALLY walks, the third question gets a moving harmony)[stems] · [MIDI] · [Songsterr tabs]
E center, Standard tuning · the bridge is the only section where the bass leaves the E pedal and walks, D → B → G → A cycling, while the rhythm guitar oscillates between D + F♯ + A (D major) and D♯ + G♯ + B (E major M3+5+M7 stack). The contested third the song has been holding over a static E now plays out over a moving harmony · ♩=114 · bars 99–102
Vocal / Rhythm gtr / Bass, aligned by measure (bass leaves the E pedal for the first time since bar 0)
Bass tab, Drop C (C G C F low→high), ♩=114 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|2---------------|----------------|2---------------|----------------|
D1 _♭VII (out of range) D1 _♭VII (out of range)
Rhythm gtr tab, Standard tuning (E A D G B E low→high), ♩=114 · D major triad voicing alternates with D♯+G♯+B (an E-major-stack-over-D♯)
e|----------------|----------------|----------------|----------------|
B|3---------------|4---------------|4---------------|3---------------|
G|2---------------|----------------|----------------|2---------------|
D|0---------------|1---------------|1---------------|0---------------|
A|----------------|----------------|----------------|----------------|
E|----------------|----------------|----------------|----------------|
D + F♯ + A D♯ + G♯ + B D♯ + G♯ + B D + F♯ + A
D major triad E with M3+M7+5 (held) D major triad
(bridge motion) (third asserted) (back to D)
The verse and chorus held the E pedal under a contested third. The bridge does the opposite of both: the bass finally walks. Bar 99 settles the bass on D2, the rhythm guitar plays D + F♯ + A (a clean D major triad), and the lead drops to G natural, the song's first non-pedaled chord. Bar 100 shifts the bass through B → G → A (a three-step walk inside the bar) and the rhythm guitar shifts up to D♯ + G♯ + B, the E-major M3 finally stated WITHOUT the E pedal under it, the third question now lives in a chord, not just a gtr flicker. Bar 101 holds the D♯+G♯+B stack while the vocal rises to B (the 5 of E). Bar 102 walks the bass back through B → G → A as the rhythm guitar returns to D + F♯ + A, the lead drops to G natural again. The bridge is the song restating its central question, does the M3 (G♯) win or does the ♭7 (G♮) win, over a moving harmonic field instead of a pedal. The walk doesn't resolve. Bar 103 dumps the bass back onto E1 and the contested-third loop resumes for the verse-two repeat.
From the chart · the chord-lyric chart prints the bridge as a power-chord progression but does not mark the moving-bass triad alternation.
From the MIDI · source Shiner-MyMirrorHatesMe-FROMCDN.mid. Tempo metaevent 120 BPM (Songsterr ♩=114 displayed; half-time felt). Bar 99 bass = D2 (sustained 3 beats) then E1 at .3; gtr pitch classes = D, F♯, A (a clean D major triad, 4 onsets per beat first 2 beats, then silence). Bar 100 bass walk: B2 → B2 → G2 → A2 (one note per beat); gtr pitch classes = D♯ + G♯ + B (E-major M3+M7+5 stack). Bar 101 bass D2 sustained then E1 at .3; gtr D♯+G♯+B held. Bar 102 bass = B2 → B2 → G2 → A2 walking; gtr returns to D + F♯ + A. Vocal across bars 99–102: F♯ (bar 98.2 trailing in) → E (99.1) → D♯ (100.1) → B (101.1) → F♯ (102.2). The first bass-pitch-change-per-beat in the song happens here; verse and chorus pedaled E.
5 · My Mirror Hates Me , Shiner (outro, low chromatic descent over the E pedal return)[stems] · [MIDI] · [Songsterr tabs]
E minor, Standard tuning · the outro mirrors the chorus, same chromatic descent gesture, but flipped: where the chorus did it high (E♭4 → B♭3 → A → A♭ → G → F♯ → F → E → E♭) over an Em7 bass arpeggio, the outro does it low (A♭3 → G3 → F♯3 → E3 → C3 → B2) over the E1 pedal of the verse · ♩=114
Vocal / Bass, aligned by measure (Standard tuning; E pedal returns)
Bass tab, Standard tuning (E A D G low→high), ♩=114, E1 pedal sustained
G|----------------|----------------|----------------|----------------|
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
E|0---------------|0---------------|0---------------|0---------------|
E1 pedal (held throughout while vocal walks chromatically above)
No guitar tab, the outro is bass + voice only (the contested-third guitar drops out before re-entering at the song's final phrase).
My Mirror's whole project is the chromatic walk and the unsettled third. The chorus stated it high, a 32nd-note glissando from E♭4 down to E♭3 over a bass that finally arpeggiated Em7. The outro flips both dimensions. The bass returns to the verse's E1 pedal (the floor that held the contested major/minor third), so the harmonic ambiguity comes back. The vocal does the chromatic walk in the lower octave, not as a rapid glissando but as a deliberate descent at a quarter-note pace: A♭3 → G3 → F♯3 → E3 → (B2) → C3 → A♭3. Each step is dwelt on for two beats. A♭3 over E is the ♭4 / M3 enharmonic (A♭ = G♯, the major 3rd of E). G3 over E is the minor 3rd (♭3). F♯3 is the 9. E3 is the root. B2 is the 5. C3 is the ♭6. Then A♭3 returns, back to the M3 enharmonic. The descent walks every diatonic and chromatic interval against the E pedal, then circles back to the major 3rd. After 88 bars of "the third refuses to settle" stated as G♮ vs G♯, the outro walks past every choice and ends on the brightest one (A♭ = G♯ = M3 of E). The contested third the band has held for the whole song closes on the major answer, in the voice alone, over the same E pedal it started on.
From the chart · key Em. The outro lyric corresponds to the song's closing phrase.
From the MIDI · all data from Unknown Artist-My Mirror Hates Me-05-29-2026.mid. Tempo metaevent 114 BPM. Bars 89–95 bass plants E1 across 12 attacks (the same E pedal as the verse). Vocal events: bar 89 A♭3 (×3), bar 89.88 G3, bar 91.25 F♯3 (×3), bar 91.88 E3 (×2), bar 92.88 B2 (the lowest vocal pitch in the section), bar 93 C3 (×2), bar 93.25 A♭3 returns (×2), bar 93.88 G3 (×2). The pattern repeats: chromatic descent A♭ → G → F♯ → E → low B/C, then A♭ → G to close. After bar 95 the bass leaves E for the song's final phrase (D2 → G2 → D2 → B1 → B♭2 → A♭2 → E1) before the final E1 ending.
B♭ center, Drop C · the intro is lead guitar alone for 8 bars, alternating F + A natural (the M3 of F or the M7 of B♭) with F + A♯ (= B♭), the song's central question (does it use the third or not?) is stated in microcosm before anything else enters · ♩=140 · bars 2–8
Intro, lead gtr A♮ → A♯ shift, no rhythm gtr, no bass, no vocal (bars 2–8)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (only the lead gtr plays)
No bass tab, bass silent for this section (see V:Bass rest pattern in the staff above).
Lead gtr tab, Drop C (C G C F A D low→high), ♩=140 · F-string fret 0 + A-string fret 0 (A natural), then A-string fret 1 (B♭)
D|----------------|----------------|----------------|----------------|
A|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|
F|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
F + A♮ F + A♮ F + A♯ (= B♭) F + A♯
M7 over B♭ M7 sustained root + 5 finally B♭5 settled
For the first four bars of the intro the lead guitar plays F4 + A4 (A natural), an interval that reads as M3 of F if you take F as the root, or as the major 7th of B♭ if you take B♭ as the root. The song hasn't declared its key yet, and the open-string voicing leaves the ambiguity open. Then at bar 6 the lead guitar moves the upper voice up a half-step: F4 + A♯4 (B♭), the bare B♭ + F = B♭5 root + 5th, no third. The song commits to B♭ as the tonic by removing the A natural, and the bare-fifth identity is what holds through the verse. The intro is the song asking "is this F major or B♭ major-7?" and answering "B♭5, no third", and that answer drives the rest of the song's harmonic withholding. The rhythm guitar joins at bar 9 with the same F+B♭ stack, vocal enters at bar 9 on D (the M3 of B♭ the gtr refuses to play), and the verse begins.
From the chart · no chart annotation for the 8-bar intro (instrumental).
From the MIDI · source Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Endless Summer-05-05-2026.mid (T7 export). Bars 2–5 lead gtr pitch classes: A and F (A natural dominant, F as the lower voice). Bars 6–8 lead gtr pitch classes shift to A♯ and F (A♯ = B♭ replaces A natural, F stays). Bar 8.2 briefly has BOTH A and A♯ overlapping (the half-step transition). Rhythm gtr is silent until bar 9.0 where it enters with F+A♯ (B♭5). Bass silent through bar 28. Vocal silent through bar 8; first vocal onset at bar 9.0 on D4 (= M3 of B♭).
The fastest song on the record runs on a long B♭5 bed, a power chord with no third, same trick as the opener. The guitar holds the bare fifth and the voice carries D, the major 3rd of B♭, with E♭ (the 4th) and C (the 9th) brushing past. The brightness lives in the vocal line over an open chord. The modal color comes later in the phrase, when the harmony drops to G♭, the ♭VI, the one flat-side chord that keeps the song from ever fully arriving. Verse one runs without bass, the bass track does not enter the song until bar 28.5, so the chord identity here is whatever the rhythm guitar dyad declares.
From the chart · B♭ center; the bed is B♭ with G♭, F, and E♭ moves (corrected pass).
From the MIDI · all data from Shiner-Endless Summer-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 140 BPM. Bass range C1–B♭2 confirms Drop C (not Drop D as the earlier card claimed). Bass is silent through bar 28; verse one carries B♭5 (rhythm guitar) + D / E♭ / C (vocal) without any low end. The G♭ turn at the end of the phrase is read from the rhythm guitar shifting down.
B♭ center, Drop C tuning · the chorus holds the same B♭5 bed as the verse but the voice loads it with ♯9 (C♯) tension and a 32nd-note chromatic descent, same chord, different vocal language · ♩=140
Vocal / Rhythm gtr, aligned by measure (Drop C; no bass, bass enters at bar 28)
Guitar tab, Drop C (C G C F A D low→high), ♩=140, B♭5 bed (held all 4 bars)
D|----------------|----------------|----------------|----------------|
A|1---------------|1---------------|1---------------|1---------------|
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|3---------------|3---------------|3---------------|3---------------|
C|----------------|----------------|----------------|----------------|
B♭5 held held held, voice does all the work
No bass tab, bass is silent through bar 28 (first bass note at 28.5 = F♯1, transitioning to the second refrain G♭).
The chorus does not change the chord. The rhythm guitar holds the same B♭5 bed it held under verse one (B♭2 + F3 + B♭3), and the bass stays out until bar 28. What changes is the vocal language. Where verse one's voice held calmly on D, E♭, C (M3, 4, 9 of B♭), the chorus splits each phrase between two opposite gestures. Bar 24 opens on D4 (the major 3rd, the verse's home tone) but instantly drops in a 32nd-note chromatic descent: D → C♯ → C → B → B♭, all four chromatic steps from the M3 down to the root, in less than a beat. Then bar 25.75 the voice lifts to C♯4, which over B♭ is the ♯9 / blue 3rd, the dissonant minor-3rd-as-altered-major-3rd that gives the chorus its bluesy bite. Bars 26–27 hold the C♯ → C → C → C → B → B♭ descent pattern: a walk-down through the half-step from the ♯9 (C♯) through the 9 (C) and the ♭9 / leading-tone (B) to the root (B♭), repeated twice. The voice is doing what a guitarist might do with a bent string in a blues solo: holding the ♯9 against the chord and bending it down to the root. Three notes do the entire chorus: C♯, C, B♭, with B and D as bookends. The B♭5 bed never moves.
From the chart · key B♭. The chord-lyric sheet treats this as a B♭ → G♭ → F → E♭ chord cycle (which arrives at the second refrain bars 88+, the other Endless Summer card). The first chorus per the MIDI is just B♭5 held, the harmonic move is later.
From the MIDI · all data from Shiner-Endless Summer-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 140 BPM. Bars 24–27 rhythm guitar holds B♭2 + F3 + B♭3 (B♭5 power chord with B♭ doubled, no 3rd). Bass silent through bar 28 (first bass note at bar 28.5 on F♯1, transitioning into the second-refrain G♭ chord). Vocal bar 24 starts on D4, then bar 24.95–25 does the 32nd-note descent D → C♯ → C → B → B♭. Bars 25.75+ lifts to C♯4 (the ♯9 of B♭) and walks C♯ → C → C → B → B♭ twice across bars 26–27. The ♯9 reading is the MIDI's; the chart only marks B♭ for this section.
6 · Endless Summer , Shiner (bridge, 37-bar instrumental, B♭5 sustained with lead 6/9 ornament, no vocal)[stems] · [MIDI] · [Songsterr tabs]
B♭ center, Drop C · the bridge is the song's longest harmonic event, 37 bars of vocal silence while the rhythm guitar settles on a sustained B♭5 (root + 5 + octave, no 3rd) and the lead guitar plays a 3-note 6/9 cluster (C + G + B♭) over it · the bass cycles a short pattern F2 → B♭1 → E♭2 → F2 → B♭2 (= V → I → IV → V → I) beneath the static guitar floor · ♩=140 · bars 109–112 of the 37-bar instrumental section
Bridge, sustained B♭5 with lead C+G+B♭ (6/9) ornament, no vocal (bars 109–112)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=140 · Rhythm gtr holds B♭5 (B♭2+F3+B♭3 = root+5+oct); Lead gtr plays C+G+B♭ cluster (= 9+6+root of B♭ = B♭6/9 shape, no 3rd)
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|3---------------|3---------------|3---------------|3---------------|
C|3---------------|3---------------|3---------------|3---------------|
G|3---------------|3---------------|3---------------|3---------------|
C|----------------|----------------|----------------|----------------|
bar 109 bar 110 bar 111 bar 112
rhythm gtr B♭5: B♭2+F3+B♭3 sustained across all 4 bars
lead gtr drone: C3 (low) + G2 + B♭3 = B♭6/9 cluster (root + 6 + 9, no 3rd)
Bass tab, Drop C (C G C F low→high), ♩=140 · 4-bar pattern: F2 → B♭1 → E♭2+F2 → B♭2 = V → I → IV+V → I
F|----------------|----------------|----------------|----------------|
C|5---------------|------3---------|3---5-----------|--3-------------|
G|------3---------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
bar 109 bar 110 bar 111 bar 112
F2 → B♭1 (V → I) B♭2 + E♭2 (I + 4) E♭2 + F2 (4 + V) B♭2 (I)
The longest single move in Endless Summer is the bridge, where the vocal disappears for 37 bars and the band lays out a sustained instrumental floor. The rhythm guitar arrives at B♭5, the song's home key chord, the most stable place in the harmonic field, and holds it without releasing for 14 consecutive bars (109 through 122). The lead guitar plays a low 3-note cluster C + G + B♭ over it, which spelled against the B♭ root is the 6 (G) + 9 (C) + root (B♭) of a B♭6/9, extensions piled on home without the third. The bass cycles a 4-bar pattern F → B♭ → E♭ → B♭ = V → I → IV → I, a plagal-and-back motion that gently rocks the bridge between the two strongest chord-functions in the key without ever leaving home. The combined effect is unusual for a rock bridge: most bridges depart somewhere new and create harmonic tension; Shiner's bridge does the opposite, it deepens into home, removes the vocal, and lets the rhythm guitar plant a featureless B♭ floor while the lead guitar paints small flickering color tones above. The 37 bars of vocal silence are the longest absence-of-voice in the album, and the moment the voice returns at bar 138 it does so over the same B♭ pedal, confirming the bridge as not a departure but a deepening.
From the chart · key B♭. The chord-lyric sheet doesn't annotate the long instrumental break; vocal continues directly from the second refrain to "I'm here on these endless," with no marker for the bridge's vocal absence.
From the MIDI · all data from Shiner-EndlessSummer-FROMCDN.mid (CDN export with vocals track preserved). Tempo metaevent 140 BPM. Vocals (track 3) last onset before the bridge at bar 99 on B♭3; next vocal onset at bar 105 (very brief D4), then silent through bars 107–137. The 37-bar bridge spans bars 100–137 (with brief vocal flickers at 105–108, D4/E♭4, counted by the chart as part of the preceding refrain). Rhythm gtr (track 1) bars 109–122 holds exactly B♭2 + F3 + B♭3 (B♭5 power chord) as repeated quarters or sustained whole notes, fourteen consecutive bars of the same voicing. Lead gtr (track 0) bars 109–117 holds C3 + G2 + B♭3 (= the B♭6/9 cluster as detailed; G2 is the 6, C3 is the 9, B♭3 is the root); this cluster persists with very minor tweaks through bar 116, then opens to bigger lines at 117+. Bass (track 2) bars 109–112 walks F2 + B♭1 / B♭2 + E♭2 / E♭2 + F2 / B♭2 = the V → I → IV → I pattern. Bars 123–137 = 15 bars of total silence (all tracks empty), the longest silence in the song; bridge resolves into a 15-bar void before vocal returns at bar 138.
Bass tab, Drop C (C G C F low→high), ♩=140 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
The last verse strips the voice back. Where the earlier verses had the vocal define the B♭ field, here the vocal is reduced to two notes, D (the major 3rd) and E♭ (the 4th), and the lead guitar takes over the upper shimmer. Over the open B♭5 bed it paints C (9th), G (6th), B♭ (root), then reaches A (major 7th) and F (5th). The chord floor never changes, B♭5 with the third left out, and the section reads as suspended and reflective because the color is coming from a guitar line tracing extensions rather than from a singer. The B♭ floor is the same; the lead guitar paints the upper color the voice used to carry.
From the chart · B♭ home field for the final verse.
From the MIDI · verified bars 105–118: vocal sparse, only D and E♭; lead guitar repeats C / G / B♭ then A / F (9, 6, root, maj7, 5 over B♭). The upper line here is lead, not vocal, and is labeled so.
Bass tab, Drop C (C G C F low→high), ♩=140 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
After the verse holds B♭, the refrain falls down the flat side: G♭5 (♭VI) → F5 (V) → E♭5 (IV), a borrowed darkening that pulls the bright B♭ center sideways. The voice follows the drop the bluntest way possible, riding the 5th of each root: D♭ over G♭, C over F, B♭ over E♭. Because the bass has been active under the second verse, the descent arrives with weight rather than drifting. The rhythm guitar still throws B♭ and F attacks at the entrance, so the old verse center ghosts through the first bar before G♭ takes over.
From the chart · the rough sheet prints only F and E♭ for the refrain, with an alignment warning.
From the MIDI · source Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Endless Summer-05-05-2026.mid (T7 export). Verified bars 88–94: bass G♭(F♯1) → F → E♭; vocal D♭ / C / B♭, the 5th of each descending root. The G♭ start and the vocal-on-5ths read are the MIDI's; the chart caught only the F→E♭ tail.
B♭ center, Drop C · the outro alternates B♭ (I, F+B♭) and E♭ (IV, C+G) with the bass walking B♭ → E♭ → B♭ → E♭ under it, the texture thinning each bar until only the synth pad's C+C♯ half-step remains · ♩=140 · bars 138–141
Outro, I ↔ IV alternation fading (bars 138–141)
Vocal / Rhythm gtr / Bass, aligned by measure (vocal silent; the outro is gtr + bass dyads alone)
Bass tab, Drop C (C G C F low→high), ♩=140 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=140 · F+B♭ for B♭ chord (A-string fret 1 + F-string fret 0); C+G for E♭ inversion (G-string fret 0 + C-string fret 5)
D|----------------|----------------|----------------|----------------|
A|1---------------|----------------|1---------------|----------------|
F|0---------------|----------------|0---------------|----------------|
C|----------------|5---------------|----------------|5---------------|
G|----------------|0---------------|----------------|0---------------|
C|----------------|----------------|----------------|----------------|
F+B♭ (B♭5) C+G (E♭/G) F+B♭ C+G
I IV (1st inv) I IV
The song fades on its plagal alternation: B♭ (I) and E♭ (IV) trading every bar. The rhythm gtr plays F + B♭ for the I chord (root + 5th) and C + G for the IV chord (an E♭ inversion with G in the upper voice, E♭ + G is the M3 of E♭). The bass walks underneath: B♭1 → E♭2 → B♭1 → E♭2. After 140 bars of B♭-rooted verses and ♭VI drops to G♭, the outro does not return to G♭ once, it just trades I and IV until the bass leaves and the synth pad's C + C♯ half-step is the last thing audible (bars 144–145). The song's flat-side modal color is the body, but the outro is plagal-bright, the IV chord that was rare in the verses ends up being the chord the song shares its goodbye with.
From the chart · the chord-lyric chart ends at the third verse / refrain area (~bar 118 in MIDI). The post-chorus instrumental fade (138–145) is not annotated.
From the MIDI · source Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Endless Summer-05-05-2026.mid (T7 export). Bars 138–141 bass-low-pitch trace: bar 138 = G2 → A♯1 (B♭1); bar 139 = silence then D♯2 (E♭2); bar 140 = A♯1 (B♭1); bar 141 = D♯2 (E♭2) → A♯1. Rhythm gtr pitch classes alternate: bar 138 = D+G then F+A♯; bar 139 = C+G; bar 140 = F+A♯; bar 141 = C+G then F+A♯. The pattern is 2-bar I↔IV plagal alternation. Lead gtr silent from bar 130 through end. Vocals silent through outro. Synth pad sustains B♭ across the fade with a final C + C♯ half-step at bar 145.
C minor center, Drop C tuning · the opening is a 6-bar bass walk under one held C5 voicing (open C2 + open G2 + open C3 of Drop C, the lead never changes shape) · bass walks C1 → E1 → F♯1 → D1 → F1 → G1 = I → ♮III → ♯IV → II → IV → V · the F♯ at bar 3 is the tritone dissonance, the riff's signature; the E♭ visit in bar 6 finally declares C minor · ♩=117
Opening riff, 6-bar bass walk under a fixed C5 voicing (bars 1–6; opening is instrumental, vocal enters at the verse, see card below)
Lead gtr / Bass, aligned by measure (Drop C; no vocal track in the .gp file)
Guitar tab, Drop C (C G C F A D low→high), ♩=117 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
Bass tab, Drop C (C G C F low→high), ♩=117 · low C string carries most of the riff
F|----------------|----------------|------1---------|----------------|----0-----------|----------------|
C|------0---------|------4---------|----------------|------2---------|----------------|----------------|
G|----------------|----------------|----------------|----------------|----------------|0-------0---0-0-|
C|0-------0---0-0-|4-------4---4-4-|6-------6---6-6-|2-------2---4-2-|5-------5---6-5-|--------------3-|
bar 1: C1 bar 2: E1 bar 3: F♯1 bar 4: D1 bar 5: F1 bar 6: G1 (+E♭1 visit)
I ♮III ♯IV (tritone!) II IV V (♭3 declared by E♭1)
The lead guitar holds one shape across all 6 bars: open C2 + open G2 + open C3 from the Drop C tuning, a 3-note C5 power chord on the low half of the guitar, no 3rd, no 7. The riff is the bass walking underneath through six different roots while the chord shape never changes: C1 → E1 → F♯1 → D1 → F1 → G1. Each bass step respells the chord:
Bar 1, C5 / C1 (i, no 3rd): the home, ambiguous between major and minor.
Bar 2, C5 / E1 (i^6, first inversion): the E in the bass colors the chord as C MAJOR (E being the M3 of C major).
Bar 3, C5 / F♯1, the tritone polychord, a C5 stacked over the most foreign note in any key relative to C. This is the riff's signature dissonance; the F♯ is reached by the bass simply stepping a half-step up from F (which it doesn't visit yet), or stepping a semitone down from G (which it visits later in bar 6), depending on direction.
Bar 4, Cadd9 / D1: the D in the bass = the 9 of C, a sweetening color after the tritone.
Bar 5, Csus4 / F1: the F in the bass = the 4 of C, or read inverted as F-rooted Fsus2 (F+C+G).
Bar 6, Cm / G1: G in the bass = the 5 of C. But this bar's bass also briefly touches E♭1 (low C string fret 3), the first time E♭ appears in the riff, which finally declares C MINOR after 5 bars of mode-ambiguous voicings. The riff has played coy about its quality for the whole phrase, and the answer slips in on the last bar's chromatic visit.
Then the cycle repeats from bar 7 onward (bars 7–11 = E-F♯-D-F-G again, omitting the bar-1 C plant), so the song's macro phrase is 1 + 5 + 5 bars across bars 1–11.
From the chart · key Cm. The sheet marks Cm and the later A♭ → Gm, B♭ → Gm moves with the "old then young / buried at sea" lyrics. The chart does NOT mark the bass-walk-under-fixed-voicing structure; the chord chart only shows a few static chords.
From the .gp file · all data from Shiner-Lazarus-05-04-2026.gp (Guitar Pro 7+ source, extracted via parse_gp_to_chart.py; 138 measures, 3319 notes, tempo metaevent 117 BPM at bar 0). Track names explicitly say "Rhythm Guitar - Drop C / Lead Guitar - Drop C / Bass - Drop C", tuning is declared in the file. Per-measure bass downbeats (low C string fret position): bar 1 = fret 0 (C1), bar 2 = fret 4 (E1), bar 3 = fret 6 (F♯1), bar 4 = fret 2 (D1), bar 5 = fret 5 (F1), bar 6 = open G string fret 0 (G1, also a brief lowC fret 3 = E♭1 visit). Lead gtr through all 6 bars: open low-C + open G + open mid-C strings (= C2 + G2 + C3 sounding). The .gp file has no vocal track. Update 2026-06-04 (06-02 MIDI): a new Songsterr-CDN export, Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Lazarus-06-02-2026.mid, carries a real vocal track for the first time (165 notes, D♯3 to F4), plus a separate lead-guitar hook lane (117 notes, F4 to C5) and a rhythm-guitar body whose lowest pitch holds C2 across the opening 24 bars of its grid (the C-root grip stays put, the upper voices cycle through C/E, C/A, C with A♭ and A, and C/B). The 06-02 file's tempo metaevent is 180 BPM with TPQ 15360, which describes the same audio as the .gp file's ♩=117 at a finer beat resolution. The verse, refrain, middle, and outro cards downstream now cite 06-02 vocal data. Audio cross-check: Moises stem-separation marks "G major / 180 BPM" but that's wrong on the key, audio agent gives C minor / 123 BPM via librosa, which agrees with the .gp's C minor / 117 BPM up to live tempo wobble. The audio also confirms vocals are real and present from t≈32 s onward, the .gp simply doesn't transcribe them. The chord chart `lazarus_GBV_TAB.md` has the full 138-measure breakdown.
7 · Lazarus , Shiner (verse 1, "Yeah you're high so high")[stems] · [MIDI] · [Songsterr tabs]
C minor center, Drop C tuning · the verse re-uses the intro's bass walk (E1, F♯1, D1, F1) under the same fixed C5 lead voicing, but now the vocal enters with the line "Yeah you're high, so high / The ruler of the earth / But the hair on your head / Has sewed you to the bed" · ♩=117 · the .gp file has no vocal track, the 06-02 MIDI now supplies one: bar 2 (06-02 grid) reads A3 (b2) G3 (b3) E4 (b4) on "Yeah you're high, so high", and bar 7 reads F4 E4 D4 C4 D4 on "But the best of all / Is when it opens up" (the refrain top-line cell that returns at bar 15)
Verse 1, bass walk continues, vocal enters with "Yeah you're high" (bars 7–14)
Lead gtr / Bass, aligned by measure (Drop C, no vocal track in .gp; vocal pitches and lyric come from audio)
Guitar tab, Drop C (C G C F A D low→high), ♩=117 · top voice from V:Gtr / V:Lead staff above (first 4 bars)
Bass tab, Drop C (C G C F low→high), ♩=117 · same chromatic walk as intro's bars 2–6, cycled twice across the 8-bar verse
F|----------------|------1---------|----------------|----0-----------|----------------|------1---------|----------------|----0-----------|
C|------4---------|----------------|------2---------|----------------|------4---------|----------------|------2---------|----------------|
G|----------------|----------------|----------------|----------------|----------------|----------------|----------------|----------------|
C|4-------4---4-4-|6-------6---6-6-|2-------2---4-2-|5-------5---6-5-|4-------4---4-4-|6-------6---6-6-|2-------2---4-2-|5-------5---6-5-|
bar 7: E1 bar 8: F♯1 bar 9: D1 bar 10: F1 bar 11: E1 bar 12: F♯1 bar 13: D1 bar 14: F1
♮III ♯IV (tritone) II IV ♮III ♯IV (tritone) II IV
"Yeah you're" "high, so high" "The ruler" "of the earth" "But the hair" "on your head" "Has sewed you" "to the bed"
The opening riff established a 6-bar bass walk (C, E, F♯, D, F, G) under one held C5 voicing. The verse keeps the same lead-guitar shape (open C2 + open G2 + open C3 = C5 no-3rd) and re-uses the bass walk's middle four steps (E, F♯, D, F) cycled twice across 8 vocal bars. The C1 home and G1 cadence of the intro are dropped, so the verse spends its full duration in the mode-ambiguous middle of the riff. The bass's tritone bar (F♯1 at bars 8 and 12) arrives directly under the syllables "high" and "head", the lyric's two strongest moments, both placed exactly where the harmony bites hardest. The vocal melody (from audio, not transcribed in the .gp) stays in the low chest register, mostly E♭4 / F4 / G4, never crossing the held instrumental ceiling at upper C3 / E♭4. The same harmonic bed underlies verse 2 ("Now you sleep in the deep / The fishes swimming by") starting around bar 50, with vocal content shifted to the sea imagery but the bass-walk-under-fixed-C5 pattern preserved exactly.
From the chart · key Cm. The lyric/chord chart shows Cm Fm Gb DdimFm over "Yeah you're high, so high" and Gm Fm Gb DdimFm over "The ruler of the earth". The chart's chord labels are by-bass-note (Fm where the bass is on F, Gb where the bass walks to F♯/G♭), not by-rhythm-guitar-voicing. The rhythm guitar's actual shape stays a fixed C5 throughout, only the bass moves.
From the .gp file · all data from Shiner-Lazarus-05-04-2026.gp. Bars 7–14 lead gtr: open C2 + open G2 + open C3 sustained across all 8 bars, the same shape as the intro. Bass downbeats per bar: bar 7 = fret 4 / E1, bar 8 = fret 6 / F♯1, bar 9 = fret 2 / D1, bar 10 = fret 5 / F1, bar 11 = fret 4 / E1, bar 12 = fret 6 / F♯1, bar 13 = fret 2 / D1, bar 14 = fret 5 / F1. The C1 home and G1 cadence of the intro are omitted in the verse, the inner 4 bars of the bass-walk cycle (E, F♯, D, F) run twice. No vocal track in the .gp file; vocal pitches and lyric alignment cross-referenced against Moises stem-separation audio (123 BPM C minor confirms .gp's 117 BPM up to live tempo wobble) and the lazarus_chord_lyric_FROMMIDI.md lyric chart.
Where the opening riff walked under one held C5 shape, the refrain leaves the C floor and lifts to a ♭VI → ♭III → ♭VII trio. The rhythm guitar plants two bars of A♭5 (♭VI of C minor), then in bar 17 cadences through E♭5 (♭III) into B♭5 (♭VII), and bar 18 holds B♭5. Three flat-side power chords, no third in any of them, the song still refusing to declare its major or minor color through the guitar. Underneath, the bass walks A♭1 with G1/E♭1/F♯1 chromatic neighbors in bars 15–16, then walks G→D→A leading into bar 18's B♭1. The progression itself is the brightest moment Lazarus offers, a long flat-side suspension, but the band still gives it through naked power chords, the same trick as the verse.
From the chart · key Cm. Lyric from lyrics/lazarus.txt: the refrain phrase is "But the best of all / Is when it opens up" (recurs at the end of every verse).
From the MIDI · all data from Shiner-Lazarus-05-04-2026.mid. Track names explicitly say "Rhythm Guitar - Drop C / Bass - Drop C" (the file actually labels the tuning). Tempo metaevent 117 BPM. Bars 15–16: rhythm guitar holds A♭2 + E♭3 + A♭3 (A♭ power chord); bar 17 first half: E♭2 + B♭2 + E♭3; bar 17 second half + bar 18: B♭2 + F3 + B♭3. Bass floors: A♭1 → A♭1 → (G→D→A transition) → B♭1. 06-02 MIDI vocal data: the refrain top-line cell F4 E4 D4 C4 D4 (beats 1, 1.5, 2.5, 3.5, 4.5, dur ~1q each, D4 sustained ~4.5q into the next bar) rides above the A♭2 → E♭2 → B♭2 rhythm-guitar floor. The held vocal pitch class F covers three different chord functions as the wheel turns: 5 of B♭, 3 of A♭, 9 of E♭. Per the standing two-chord-policy rule, the chord marks stay guitar-plus-bass only; the vocal renders as melody on its own line.
C minor center, Drop C tuning · the song's third harmonic region, its bridge in the iximusic sense, the section that introduces material neither the verse nor the chorus touched · where the opening rode C5 with a bass walk and the refrain lifted to A♭→E♭→B♭, the bridge introduces a B5 (the ♮VII / C♭ enharmonic), the most foreign chord in C minor, for the first time · ♩=117
Bridge / middle section, 24-bar chromatic root cycle C, A, A♭, B, G, A, A♭, B, then C×8 with B5 as the top of each 8-bar half-cycle (bars 36–39 in HTML grid = bars 73–96 in 06-02 grid)
Rhythm gtr / Bass, aligned by measure (Drop C; middle vocal sparse in 06-02 MIDI; back-half register turn to G3, A♭3, F3, E♭3 arrives at bars 97+ in the 06-02 grid)
Lazarus has three distinct harmonic regions, and this is the third. The opening riff (the first card) walked under one held C5 shape; the refrain (the second card) lifted to the diatonic flat-side trio A♭5 → E♭5 → B♭5. The middle introduces a chord neither prior section touched: B5, a chromatic B natural power chord on the leading tone of C minor, the ♮VII in classical theory or, spelled enharmonically as C♭, the chromatic neighbor a half-step below the tonic. Bar 36 opens with B5 for two beats, then drops a tritone to A♭5 for two beats, the same A♭ from the refrain, but reached from above (B → A♭ down a minor 3rd) instead of below. Bar 37 the rhythm guitar settles on B♭5 (♭VII) and holds it across bars 38–39. Underneath, the bass walks E1 → F♯1 → G1 → F♯1 → G1 → A1 → B♭1 → F♯1 → G1, a chromatic ascent from E through B♭, the most active bass motion on the whole song. The combination, three power-chord roots (B / A♭ / B♭) over a chromatic-walking bass, is what makes the middle feel like the song's harmonic departure: neither stable like the opening C drone nor settled like the refrain trio.
From the chart · key Cm. The chord-lyric sheet's middle section lyric ("Now you sleep in the deep / The fishes swimming by / Now you hear what they think / They're planning your demise") corresponds roughly to this bar range; without a vocal track to align, the lyric mapping stays approximate.
From the MIDI · all data from Shiner-Lazarus-05-04-2026.mid. Track names explicitly say "Rhythm Guitar - Drop C / Bass - Drop C". Tempo metaevent 117 BPM. Bar 36 beats 1–2: rhythm guitar plays B2 + F♯3 + B3 (B5); bar 36 beats 3–4: A♭2 + E♭3 + A♭3 (A♭5). Bar 37 beat 3+: B♭2 + F3 + B♭3 (B♭5), sustained across bars 38–39. Bass walks across the 4 bars: E1 → F♯1 → G1 → F♯1 → G1 → A1 → B♭1 → F♯1 → G1 (9 attacks total, chromatic ascent E→B♭ across the section). The B5 is the first appearance of B♮ in any Lazarus chord, opening rode C5, refrain rode A♭/E♭/B♭, middle adds B♮ to the harmonic vocabulary. 06-02 MIDI confirms the wider cycle: rhythm-guitar lowest pitch across 06-02 bars 73–96 reads C C A A A♭ A♭ B B G G A A A♭ A♭ B B C C C C C C C C (24 bars, two-pass chromatic cycle, then 8 bars C-root return). The vocal in this section sparses out at the F4-area register and the back-half register turn (G3, A♭3, F3, E♭3) arrives in the 06-02 file from bar 97 onward; the same shapes that built the F4 refrain descent re-state an octave down.
C minor, Drop C · the song closes by removing its foundation: the bass plays the walking riff for one final 1.5-bar statement, then disappears, and the only thing left is the synth pad cycling chromatic dyads E♭ + A♭ → C♯ + G♯ → D + G behind a single lead-gtr C, fading into silence · ♩=117 · bars 131–135
Outro, bass drops out at bar 132, synth pad chromatic fade (bars 131–135)
Lead gtr / Synth pad / Bass, aligned by measure (vocal in the 06-02 file sparses in the back half toward G3 and F♯3 (the leading-tone neighbor pair around G3); the existing card describes a synth-pad bass-drops-out reading from the 05-04 file that should be cross-checked against the 06-02 B♭ field reading (06-02 bars 133–195 hold A♯2/B♭ for ~59 of 63 bars, with a 4-bar touch of A♭2 then E♭2 at bars 149–152))
Bars 3–5, synth pad alone (lead has stopped, bass has stopped)
No guitar tab, outro is synth pad + bass + lead (rhythm guitar dropped out); see V:Synth voicing in the staff above (E♭+A♭, D♭+A♭, D+G chromatic clusters).
Bass tab, Drop C (C G C F low→high), ♩=117 · last walking statement bars 131 (C → G → C), then silent
F|----------------|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|----------------|
G|--------5---0---|----------------|----------------|----------------|----------------|
C|0-------0-------|----------------|----------------|----------------|----------------|
C1 G1 C1 (silent from bar 132.0 onward, bass has left the song)
The whole song has been one held guitar shape and a bass walk underneath. The riff lasts 132 bars. Then the bass drops out. The lead guitar plays a single C in bar 132, and the only remaining motion is the synth pad cycling chromatic dyads in the background: E♭ + A♭ (bar 132), C♯ + G♯ (bar 133), D + G (bars 134–135), C♯ + F♯ (bar 136), then back to E♭ + A♭ (bar 137) before silence. Each dyad is a 4th or 5th, quartal, no thirds, and the chromatic motion through them (Eb-Ab → Db-Ab → D-G → Db-Gb) is the same tritone color the opening riff used at bar 3 (G♭dim). The song begins by introducing the tritone (G♭/C in bar 3) and ends by sustaining it for five bars as a fade. The bass had been the only thing committing to a key; with the bass gone, the dyad pad refuses to resolve and the song just runs out of breath.
From the chart · no chart for the outro (instrumental fade).
From the MIDI · source Shiner-Lazarus-05-04-2026.mid (T7 export). Bass track last events: bar 131.0 = C1, bar 131.1 = G1, bar 131.2 = C1; zero bass note-ons from bar 131.2 through end of file (bar 137). Synth pad pitch classes by bar: bar 132 = D♯ + G♯ (= E♭ + A♭), bar 133 = C♯ + G♯ (= D♭ + A♭), bars 134–135 = D + G, bar 136 = C♯ + F♯ (= D♭ + G♭), bar 137 = D♯ + G♯ (= E♭ + A♭). Lead gtr has one C onset at bar 132.1, then silence. Rhythm gtr silent across bars 131–137. Vocals: the 05-04 file has no vocal track, the 06-02 file does. In the 06-02 file the outro vocal gravitates to G3 and F♯3 (the G/F♯ leading-tone neighbor pair), with sparser coverage than the verse/refrain. 06-02 outro reading (conflict flag): the 06-02 rhythm guitar holds A♯2/B♭2 for ~59 of the last 63 bars (bars 133–195), with a 4-bar refrain-trio touch at bars 149–152 (G♯2/D♯2 = A♭/E♭). The 05-04 "synth-pad bass-drops-out" reading above and the 06-02 "B♭ suspended field" reading describe different MIDI exports of the same audio; resolve by cross-checking against the lead-guitar stem. The "Cm → G♯7 augmented-sixth closing" prose in MANUSCRIPT.md does not match the 06-02 file's B♭ terminal pitch and needs re-verification.
C minor, Drop C · the verse machine returns at a higher register with altered guitar bodies, cycling C+E, C+A, A♭+D, F+B over the same bass walk · the descending vocal hook F4 → E4 → D4 → C4 → D4 re-states at bars 39, 47, and 55 · lead guitar absent through this entire stretch (rule 5, drop V:Lead from %%score) · ♩=117
Verse 2 return, "Yeah you're high so high" register-shifted (bars 34–55, 06-02 MIDI vocal data; lead tacet)
Voc / Rhythm gtr / Bass, aligned by measure (Drop C; lead absent across bars 34–55, the texture is vocal + rhythm + bass only)
Guitar tab, Drop C (C G C F A D low→high), ♩=117 · rhythm bodies bar 36 (C+E+A), bars 37–38 (A♭+D♯+A♭+D), bar 39 (F+B with C)
D|----------------|--3---3---3---3-|--3---3---3---3-|----------------|
A|----0---0---0---|----------------|----------------|----------------|
F|----------------|----------------|----------------|--1---1---1---1-|
C|----------------|----------------|----------------|----------------|
G|3---3---3---3---|3---3---3---3---|3---3---3---3---|--3---3---3---3-|
C|0---0---0---0---|3---3---3---3---|3---3---3---3---|0---0---0---0---|
C3+G3+A3+E4 A♭+D♯+A♭+D A♭+D♯+A♭+D F+B with C
(C area, NOT C4) (A♭ with D) (A♭ with D) bar 39 hook
Bass tab, Drop C (C G C F low→high), ♩=117 · walk bars 32–55, A♯1 (32), C1 (33), D2 (34), C1 (35), E2 (36), C2 (37–38), G2 (39–40), D2 (41–42), E2 (43–44), C2 (45–46), G2 (47–48), D2 (49–50), E2 (51–52), C2 (53–54), G2 (55)
After the bridge clears at bar 33, the song restates its verse machine a register higher and with the rhythm-guitar bodies altered. The vocal returns at bar 34 with the verse opener A3 → G3 → E4 ("Yeah you're high, so high"), the same cell that opened the song at bar 2, now an octave up on the closing E4. Bar 36 arrives at a rhythm-guitar stack of C3 + G3 + A3 + E4, a C-area chord with the A3 holding where C4 lived in the earlier reading. Bars 37–38 the rhythm guitar shifts to A♭ + D♯ + A♭ + D, an A♭-rooted chord with a chromatic D against the D♯ in the body, the same trick the bridge ran but at faster harmonic rhythm. Bar 39 the guitar plays F + B over a held C, the F+B tritone (♭5 of B, ♯4 of F) is the same tritone color the intro's bar 3 introduced. Underneath, the vocal carries the descending hook F4 → E4 → D4 → C4 → D4 (the refrain's top-line cell, re-stated as a verse hook), with a chromatic detail at bar 40 (C♯4 → C4) before the hook repeats at bars 47 and 55. The bass walks the same scale-degree machine as the opening (C, E, D, C, E with G2 cadences), now spanning C2–G2 instead of C1–G1. The lead guitar is absent for this entire stretch. The 06-02 MIDI shows zero lead onsets bars 34–55, so the staff drops V:Lead from %%score and shows three voices only.
From the chart · key Cm. The chord-lyric sheet's second-verse text ("Yeah you're high so high / The ruler of the earth / But the hair on your head / Has sewed you to the bed / But the best of all / Is when it opens up") aligns to the bars 34–55 register-shifted return; the chart prints Cm/Fm/Gb/DdimFm bar-labels by bass note, the rhythm-guitar bodies (C+E, C+A, A♭+D, F+B) are recovered from the 06-02 MIDI rather than the chart.
From the MIDI · all data from Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Lazarus-06-02-2026.mid. Bar 34 vocal: A3, G3, E4 (verse opener re-statement). Bar 36 rhythm gtr: C3 + G3 + A3 + E4 (C-area with A3). Bars 37–38 rhythm gtr: A♭ + D♯ + A♭ + D (A♭ with D, chromatic body). Bar 39 rhythm gtr: F + B (with held C in the lower octave); vocal: F4 → E4 → D4 → C4 → D4 (descending refrain-cell hook, beats 1, 1.5, 2.5, 3.5, 4.5). Bar 40 vocal: C♯4 → C4 (chromatic detail). Hook repeats at bars 47 and 55. Bass walk bars 32–55: A♯1 (32), C1 (33), D2 (34), C1 (35), E2 (36), C2 (37–38), G2 (39–40), D2 (41–42), E2 (43–44), C2 (45–46), G2 (47–48), D2 (49–50), E2 (51–52), C2 (53–54), G2 (55). Lead guitar: zero onsets bars 34–55. The lead lane is silent through this entire register-shifted verse return; the abc staff drops V:Lead from %%score per rule 5.
C minor, Drop C · the second flat-side refrain runs A♭ / E♭ / B♭ power shapes with C and B passing for color, and the vocal holds G3 → G♯3 → G3 over A♭5, the major 7th of A♭ the rhythm power-chord withholds · ♩=117
Second flat-side refrain, "But the best of all / Is when it opens up" (bars 58–71, 06-02 MIDI vocal fragments)
Voc / Lead / Rhythm gtr / Bass, aligned by measure (Drop C; vocal G3/G♯3/G3 cell over A♭5 root, the M7 voice supplies the third the power chord won't)
Guitar tab, Drop C (C G C F A D low→high), ♩=117 · A♭5 / E♭5 / B♭5 power shapes with C and B passing
The second refrain is the flat-side guitar release, A♭ / E♭ / B♭ power shapes (with C and B passing for color), the same harmonic floor the first refrain laid down. What's new is the vocal cell: across bars 58, 62, 66, and 70 the voice carries G3 → G♯3 → G3 over the A♭5 bed. The G3 is the major 7th of A♭, the third the power chord refuses to declare; the voice supplies. The G♯3 in the middle of the cell is the chromatic upper neighbor (= A♭, the root, displaced into the vocal octave), so the cell reads as M7 → root → M7, the voice circling the missing color tone. This is the same trick the rest of the album runs: the rhythm guitar plays a bare fifth, and the vocal supplies the M3 (the "Endless Summer" verse) or the M7 (this refrain). Bar 71 the vocal lifts to D4 as the phrase tag, the same D4 that closes the first-refrain descent (F4 E4 D4 C4 D4). The lead guitar enters this section with sparse top-line gestures around B♭4, C5, G4, F4 (pitch classes B♭, C, F, G: 5, 9, 5, 9 of A♭ and B♭ roots), the lead never plays the third either. Three voices refusing to commit to a third while the fourth (the vocal) commits the song to A♭ major by holding its M7.
From the chart · key Cm. The chord-lyric sheet's second refrain text is "But the best of all / Is when it opens up" repeated per refrain pass, the same lyric as the first refrain. The chart's chord-by-bass-note labels (A♭, E♭, B♭) match the rhythm-guitar bodies recovered from the 06-02 MIDI.
From the MIDI · all data from Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Lazarus-06-02-2026.mid. Bar 58 vocal cell: G3 → G♯3 → G3 over rhythm-gtr A♭5 (A♭2 + E♭3 + A♭3); the vocal G3 is the M7 of A♭, the rhythm root A♭5 sets the M7 against the power-chord. Cell repeats at bars 62, 66, 70. Bar 71 vocal: D4 (tag pitch closing the phrase, matches first-refrain D4 descent arrival). Rhythm-guitar pitch-class bodies bars 58–71: A♭ + E♭ + A♭ (A♭5), E♭ + B♭ + E♭ (E♭5), B♭ + F + B♭ (B♭5), with C and B passing in inner voices for color (the B is the ♮VII chromatic neighbor first introduced in the bridge). Bass: A♭1, E♭1, B♭1 (the same flat-side trio as the first refrain, transposed-free repetition). Lead-guitar pitch classes across the section: B♭, C, F, G (B♭4, C5, G4, F4 sparse placeholders), the lead never sounds a third; three voices refuse the third, the vocal commits the song to A♭ major by holding its M7.
8 · Not Too Much , Shiner (intro, B♭/D ↔ A♭/C alternation, no bass)[stems] · [MIDI] · [Songsterr tabs]
A♭ field, D Standard tuning · the intro alternates B♭/D and A♭/C in the rhythm guitar, the song's home (A♭) and its ii (B♭) both in first inversion, so the bass note is the M3 of each chord, for four bars before the actual bass enters and roots the I · ♩=85 · bars 0–3
Bass tab, D Standard (D G C F low→high), ♩=85 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
D|----------------|----------------|----------------|----------------|
rest rest rest (out of range)
Rhythm gtr, D Standard, ♩=85 · B♭/D = D+F+B♭ inverted (D is the bottom note); A♭/C = C+E♭+A♭ inverted (C is the bottom note)
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
G|----------------|1-1-1-1-1-1-1-1-|----------------|1-1-1-1-1-1-1-1-|
D|3-3-3-3-3-3-3-3-|1-1-1-1-1-1-1-1-|3-3-3-3-3-3-3-3-|1-1-1-1-1-1-1-1-|
A|----------------|3-3-3-3-3-3-3-3-|----------------|3-3-3-3-3-3-3-3-|
D|----------------|----------------|----------------|----------------|
D + F + B♭ C + E♭ + A♭ D + F + B♭ C + E♭ + A♭
B♭/D (II6) A♭/C (I6) B♭/D A♭/C
The intro states the home key by avoiding the root in the bass voice. The rhythm guitar alternates two upper-voice triads: B♭/D (D + F + B♭) and A♭/C (C + E♭ + A♭). Both are first inversions, the M3 of each chord is in the bottom voice, and the bass guitar doesn't enter for four bars, so the M3 in the gtr is literally the lowest note sounding. In A♭ major terms the progression is II6 ↔ I6 (B♭ in first inversion, then A♭ in first inversion). When the bass finally enters at bar 3.5 on A♭1 (rooting the I chord on the downbeat of bar 4), the song's whole identity is finally committed. The intro is the song delaying its own root for four bars and using inversions to keep the harmonic floor floating.
From the chart · the chord-lyric chart begins at the first lyric. The 0–3 intro is not annotated.
From the MIDI · source Shiner-Not Too Much-05-05-2026.mid (T7 export). Bars 0–3 rhythm gtr pitch-class set per bar: bar 0 = D + F + A♯ (= B♭) sustained; bar 1 = C + D♯ (= E♭) + G♯ (= A♭) sustained; bar 2 = D + F + A♯ returns; bar 3 = C + D♯ + G♯ returns. Bass track silent from bar 0 through bar 3.1. First bass onset at bar 3.2 (G♯1 = A♭1) then bar 4 settles on A♭1. Lead gtr silent through bars 0–3 (first lead note at bar 3.3 on F4). Vocals silent throughout the intro (first vocal at bar 8). The B♭/D ↔ A♭/C alternation is the entire texture for four bars.
The bridge opens guitar-led with the bass gone, so the rhythm guitar is the whole floor. The lead glares an A♭ over C/E, a ♭6 that makes the entrance strange rather than a clean arrival. Then the hinge, the important event: the guitar slides C/E → Cm/E♭, the major third (E) lowering to the minor third (E♭) under the held top, the song flickering bright to dark in one move. The Dsus4 tightens the phrase, the lead on C (♭7) and G (4th), no third to settle it. Then F6 opens almost too pretty, the lead reaching D (6th) and E (major 7th), before A♭add9 and B♭add9 lift toward the ending tag.
From the chart · the rough sheet prints E♭, Cm, A♭, B♭m, a merged "GdimE♭" artifact, then Cm/A♭/B♭m/E♭, with an alignment warning.
From the MIDI · all data from Shiner-Not Too Much-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 85 BPM. Bass range D1–E♭3 confirms D Standard (not Drop C, Not Too Much is the only D Standard song on the record). The T7 MIDI bass enters mid-bar 33 on A♭1, not at the downbeat, the abc here shows only the guitar voicings since the bridge's harmonic identity comes from the guitar. The C/E → Cm/E♭ third-flicker, the Dsus4, and the F6 are read from the rhythm guitar; the "GdimE♭" is an artifact, not a chord.
8 · Not Too Much , Shiner (chorus, F4 pivot over the chord wheel)[stems] · [MIDI] · [Songsterr tabs]
The chorus is the song's harmonic motion section · the rhythm guitar leaves the verse's B♭↔A♭ rocker and walks E♭5 → C5 → A♭5 → B♭5 (♭V – ♭III – I – II in A♭ field), and the voice holds F4, the highest pitch in the song, letting that one note function as the 9 of E♭ / sus4 of C / 6 of A♭ / 5 of B♭ across four chords · D Standard, ♩=85
Chorus, vocal F4 sustained while the chord wheel turns (bars 72–75)
The verse two-chord rocker (B♭↔A♭) hands off to a four-chord chorus wheel: E♭5 (♭V of A♭) → C5 (♭III) → A♭5 (I) → B♭5 (II). The bass walks through E♭ → B♭ → A♭ → B♭ (the rhythm guitar voices the upper chord shapes faster than the bass changes, so the bass is mostly the floor while the chord identity comes from the upper voicing). The voice doesn't follow the chord changes, it stays on F4, the song's highest pitch, sustained across bars 74–75. That single F4 means a different thing on every chord underneath:
over E♭5: F = the 9th (the bright added-9 color)
over C5: F = the 4th / sus4 (a suspended tension)
over A♭5: F = the major 6th (the gentle add-6 color)
over B♭5: F = the perfect 5th (the most stable interval)
This is the album's clearest vocal-pivot move, what the synthesis doc labels "behavior #2: same vocal note held across a chord change, listener feels the chord move underneath while the melody stays put." Bar 73 sets it up with a D4 → E4 lift, bar 74 arrives at E4 → F4, and bar 75 holds F4 across the chord change to B♭5. The voice asks one question; the band changes its meaning four times.
From the chart · key A♭. Lyric from lyrics/not_too_much.txt: the chorus section in this bar range carries one of the song's recurring phrases (lyric mapping to specific bars approximate).
From the MIDI · all data from Shiner-Not Too Much-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 85 BPM. Bars 72–75 rhythm guitar cycles through: E♭2+B♭2+E♭3 (bar 72) → B♭2+F3+B♭3 / C3+G3+C4 / C♯3+A♭3+C♯4 alternating (bar 73) → A♭2+E♭3+A♭3 (bar 74) → B♭2+F3+B♭3 (bar 75). Bass: E♭1 → B♭1 → A♭1 → B♭1. Vocal walks D4 → E4 (bar 73) → E4 → F4 (bar 74) → F4 sustained (bar 75). F4 = MIDI 65, the highest sung pitch on the song. The C♯3 voicing in bar 73 = enharmonic D♭5 (the chart's "D♭ field" the handoff marked).
A♭ field with B♭ parallel, D Standard tuning · the verse rocks two major chords a whole step apart, the voice answers with diatonic A♭-major tones over both · ♩=85
Verse one entrance, "It's more than make believe" over the B♭ ↔ A♭ rocker (bars 8–11)
Bass tab, D Standard (D G C F low→high), ♩=85 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
D|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
The verse cycles two major chords a whole step apart, B♭ and A♭, with the bass walking under both (B♭1 then A♭1, with chromatic 16th-note approach tones visiting C2, C♯2/D♭2, E♭2, G1). The rhythm guitar voices each chord as a stacked root/5/octave on the B♭ side (B♭2 + F3 + B♭3) and a fuller A♭ major triad (A♭2 + E♭3 + A♭3 + C4) on the A♭ side. The voice enters on B♭3, the root of the first chord, slides down to A♭3 (the ♭7 of B♭, or the root of the next chord), then under the A♭ chord descends through E♭ → G → F, all diatonic to A♭ major, G is the major 7th, the most expensive interval, and F is the 6th, the song's home-but-not-quite tone. The handoff marks this the "B♭ ↔ A♭ ↔ D♭ field"; the D♭ shows up as a brief rhythm-guitar pivot (C♯3 + A♭3 + C♯4) between bars, but B♭ and A♭ carry the cycle.
From the chart · the rough sheet for Not Too Much is bridge-focused; the verse field is not cleanly printed there. Lyric from lyrics/not_too_much.txt: opening verse is "It's more than make believe / There's things I can't unsee / Through the medicines / And out to the evergreen."
From the MIDI · all data from Shiner-Not Too Much-05-05-2026.mid (T7 Songsterr-matching export). Tempo metaevent 85 BPM. Bass D1–E♭3 range confirms D Standard. First vocal entry at bar 8.25 (B♭3). Bass alternates B♭1 (downbeat of bar 8/10) with A♭1 (downbeat of bar 9/11), with C2/C♯2/E♭2 chromatic 16th-note approach figures between. Rhythm guitar voices B♭2+F3+B♭3 on the B♭ chord, A♭2+E♭3+A♭3+C4 on the A♭ chord. Vocal pitches B♭/A♭/E♭/G/F all diatonic to A♭ major. Lyric placement approximate.
8 · Not Too Much , Shiner (bridge, the C/E ↔ Cm/E♭ flicker, gtr-carried, bass silent)[stems] · [MIDI] · [Songsterr tabs]
A♭ field, D Standard · the bridge is bass-absent for its entire 8 bars (49–56), the rhythm guitar carries the harmonic floor alone, and its central move is a C major ↔ C minor flicker spelled by an E♮ and an E♭ standing around the C root in adjacent bars · the bridge cycles C/E → A♭add9 → B♭add9 → C/E↔Cm/E♭ before pulling toward the chorus return · ♩=85 · bars 49–52 of the 8-bar bridge
Bridge, C/E ↔ Cm/E♭ flicker over absent bass (bars 49–52)
Vocal / Lead gtr / Rhythm gtr / Bass, aligned by measure (bass silent through the whole bridge)
Guitar tab, D Standard (D G C F A D low→high), ♩=85, rhythm gtr carries the bridge alone; bass tab not shown because bass is silent for 8 bars
D|----------------|----------------|----------------|----------------|
A|2---------------|1---------------|----------------|2---------------|
F|2---------------|3---------------|0---------------|2---------------|
C|0---------------|3---------------|7---------------|0---------------|
G|9---------------|8---------------|10--------------|9---------8-----|
D|----------------|6---------------|8---------------|----------------|
bar 49 bar 50 bar 51 bar 52
C/E (C+G+E+B) A♭add9 B♭add9 C/E → Cm/E♭ flicker
M3=E♮ over C A♭+E♭+C+B♭ B♭+F+D+C+G bar 52 has E AND E♭
The bridge is where Not Too Much's central harmonic flip happens, and the band underlines it by dropping the bass for the entire section. For 8 bars the rhythm guitar alone carries the chord progression. The opening move is C/E, a C major triad with E in the bass that places E♮ (the major 3rd) as the lowest pitch in the voicing. Bar 50 lifts to A♭add9, the song's home chord, and bar 51 reaches B♭add9, both with their 9 added, both bright. Then bar 52 is the trick: the rhythm guitar plays both E♮ (the M3 of C) AND E♭ (the ♭3 of C) in the same measure, flickering between C/E and Cm/E♭, major-to-minor on the same root, distinguished only by which third the strummer picks up next. The bridge then continues with a Dsus → F6/Dm/F → A♭add9 → B♭add9 sequence (bars 53–56) before pulling toward the chorus return. The C/E ↔ Cm/E♭ flicker on bar 52 is the song's bridge moment, a small, intimate harmonic shimmer that the bass refuses to confirm by entering. When the bass finally does return (in the chorus reprise at bar 57+), it arrives on A♭, the home key, settling the bridge's ambiguous flicker by walking away from the C/Cm dyad entirely.
From the chart · key A♭. The chord-lyric sheet's "Weaving through the cars / We're disappearing stars / You and I drive away / Fly away" likely arrives in this bar range. The sheet's chord marks for this section (E♭, Cm, A♭, B♭m) are not what the MIDI shows: bass is silent and the rhythm gtr plays C/E (not E♭) and B♭add9 (not B♭m).
From the MIDI · all data from Shiner-NotTooMuch-FROMCDN.mid (CDN export) and the audit not_too_much_bridge_midi_audit.md. Tempo metaevent 85 BPM. Bass (track 3) is silent for the entire bridge bars 49–56, zero onsets across 8 bars. Bar 49 rhythm gtr: C + G + E + B (= C major triad with M3 E in bass and added M7 = Cmaj7/E). Bar 50: A♭ + E♭ + C + B♭ (= A♭add9 with M3 C, 9 B♭, 5 E♭). Bar 51: B♭ + F + C + G (= B♭add6/9 or B♭(9,13)). Bar 52: rhythm gtr emphasizes both E♮ (C major 3rd) AND E♭ (C minor 3rd), the major/minor flicker on the same C root, the bridge's defining harmonic move. The "C/E ↔ Cm/E♭ flicker" claim is confirmed by the MIDI's simultaneous E and E♭ in bar 52 around the C root. Bar 53 onward: Dsus (D + C + G + A) → F6 / Dm/F (F + C + D + E) → A♭add9 (bar 55) → B♭add9 (bar 56), then chorus reprise enters at bar 57 with bass on A♭.
8 · Not Too Much , Shiner (outro, chromatic clusters, ends on D not A♭)[stems] · [MIDI] · [Songsterr tabs]
A♭ field, D Standard · the song does not return home. After the bridge and chorus the outro plays a chromatic build, bass C → E → E♭ → D, gtr clusters C+D+E+G then C+D+E♭+G, and settles on a sustained D major triad, a tritone away from the A♭ home, leaving the song unresolved · ♩=85 · bars 113–116
Outro, chromatic build to a deceptive D-major ending (bars 113–116)
Vocal / Rhythm gtr / Bass, aligned by measure (vocal silent through the outro)
Bass tab, D Standard (D G C F low→high), ♩=85 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|3---------------|----------------|
G|3---------------|----------------|----------------|----------------|
D|----------------|2---------------|----------------|0---------------|
A♯1 (≈A♭ area) E1 D♯2 (E♭2) D1
bass walk start bass on E bass to E♭ final D1
Rhythm gtr tab, D Standard (D G C F A D low→high), ♩=85 · clusters C+D+E+G then C+D+E♭+G chromatic intensification, settles on D + F♯ + A
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|0---------------|
F|----------------|----------------|----------------|1---------------|
C|0---------------|0--2--4---------|0--2--3---------|2---------------|
G|9---------------|------------2---|------------2---|----------------|
D|----------------|----------------|----------------|----------------|
C + E C+D+E+G C+D+E♭+G D + F♯ + A
(transition) cluster build chromatic intense D major (deceptive)
bass A♭→E walk bass E1 bass E♭ bass D1
The song lives in A♭ field, Ab is the bass downbeat home through the verses and the chorus revolves around A♭/B♭/D♭. The outro does not return to A♭. Instead the bass walks chromatically downward, A♭ → E → E♭ → D, and the rhythm guitar plays four-note clusters that get tighter each bar (C+D+E+G in bar 114 → C+D+E♭+G in bar 115, the E lowered to E♭ as the bass descends). On the final bar the rhythm gtr opens to a clean D + F♯ + A (D major triad), and the song ends there. D is a tritone from A♭, the chord most foreign to the home key, and the song refuses to walk back. The "Not Too Much" of the title gets stated harmonically at the end: not too much resolution, no plagal cadence, no return to the home chord. The song just stops a tritone away from where it started.
From the chart · the chord-lyric chart does not annotate the final 4 bars of post-vocal instrumental fade.
From the MIDI · source Shiner-Not Too Much-05-05-2026.mid (T7 export). Bar 113 bass = A♯1 → A♯2 → silence → D1 (walk from A♭ area to D); gtr = C + E (5+root of E or 3+5 of C). Bar 114 bass = E1 sustained 4 beats; gtr cluster = C + D + E + G (4-note close-position cluster, all 16 onsets per bar). Bar 115 bass = D♯2 (= E♭2) sustained; gtr cluster = C + D + D♯ + G (the E is now E♭, half-step downward chromatic motion). Bar 116 bass = D1 (drops the octave for the final note); gtr opens to D + F♯ + A (clean D major triad). Bar 117 bass = D1 (final hit). Lead silent through bars 113–117. Vocals silent through bars 113–117.
E♭ center, Drop C · the intro is 4 bars of rhythm gtr alone playing F + G + B♭ sustained, a three-note cluster that contains the 9 (F), the M3 (G), and the 5 (B♭) of E♭ but no E♭ root, for four bars until the bass enters at bar 4 with D1 and the verse cycle begins · ♩=116 · bars 0–3
Intro, rhythm gtr cluster F+G+B♭ alone (bars 0–3)
Vocal / Rhythm gtr / Bass, aligned by measure (only rhythm gtr plays; bass enters at bar 4 on D1)
Bass tab, Drop C (C G C F low→high), ♩=116 · derived from V:Bass staff above (first 4 bars of the excerpt)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=116 · open F-string + G (A-string fret 5 or open G if Drop C-Bb) + B♭ (A-string fret 1)
D|----------------|----------------|----------------|----------------|
A|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|
F|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
C|5-5-5-5-5-5-5-5-|5-5-5-5-5-5-5-5-|5-5-5-5-5-5-5-5-|5-5-5-5-5-5-5-5-|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
F + G + B♭ sustained, the 9 + M3 + 5 of E♭, but no root
The intro hangs three notes in space: F (the 9 of E♭), G (the M3 of E♭), B♭ (the 5 of E♭). None of them is the root. For four bars the rhythm gtr just sustains this cluster, and the E♭ tonic is implied by what's missing, the listener hears B♭ + F as the boldest interval (a perfect 5th open) with G coloring the middle. The 9 (F) lives directly above the M3 (G) and the 5 (B♭), an unusual close-voicing cluster that creates the "hovering" effect the verse will exploit (Thom-Yorke-style upper-structure-without-root writing). When the bass enters at bar 4 on D1 (= D5, NOT E♭) and the rhythm gtr shifts to D+A (D5 power chord), the song's "vocal D as the maj7 of E♭" trick is set up before the vocal even enters, the same D will recur as the song's central pivot.
From the chart · the chord-lyric chart begins at the first lyric (~bar 8). The 0–3 intro is not annotated.
From the MIDI · source Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Broken Satellites-05-05-2026.mid (T7 export). Bars 0–3 rhythm gtr pitch classes: F, G, A♯ (= B♭) only, exactly three PCs sustained for 4 bars, 8 onsets per bar (F+A♯ at .0/.1, F+G+A♯ at .2+). No bass onset until bar 4.0 (D1). No lead onset until bar 4.0 (D4). Vocals silent until bar 8 (first vocal onset on B♭3 = the 5 of E♭). The cluster is the entire texture for the intro.
E♭ center, Drop C · the chord the first read got wrong, and what the MIDI really plays · ♩=116
Verse one, "The human eye," one D with three jobs (bars 8–14)
Vocal / Guitar / Bass, aligned by measure
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=116 · E♭5, D5, F5 power chords on the low C string + G string pair
D|----------------|----------------|----------------|
A|----------------|----------------|----------------|
F|----------------|----------------|----------------|
C|----------------|----------------|----------------|
G|3-3-3-3-3-3-3-3-|2-2-2-2-2-2-2-2-|5-5-5-5-5-5-5-5-|
C|3-3-3-3-3-3-3-3-|2-2-2-2-2-2-2-2-|5-5-5-5-5-5-5-5-|
E♭5 (B♭+E♭) D5 (A+D) F5 (C+F)
"The human eye" "more shades of" "green / of any color"
Bass tab, Drop C (C G C F low→high), ♩=116 · roots E♭1, D1, F1 match the guitar's power-chord roots one-to-one
F|----------------|----------------|----------------|
C|----------------|----------------|----------------|
G|----------------|----------------|----------------|
C|3---------------|2---------------|5---------------|
E♭1 D1 F1
(root of E♭5) (root of D5) (root of F5)
The verse is power chords with the color living in the voice, and it explains the chart's phantom diminished. Over E♭5 the line climbs B♭ → D → E♭, and that D is the major seventh over E♭, a glassy half-step under the root, the rub the rough chart was groping at when it guessed "Ddim." Then the bass drops to D5 and the same D becomes the root, the voice falling D → C → B♭ (root, ♭7, ♭6) into rock-modal dark. Over F5 that D returns as the 6th, a color a power chord cannot supply itself. One pitch, three jobs: major seventh, root, sixth. No diminished triad anywhere, just E♭5, D5, F5 and a voice re-reading its own D.
From the chart · E♭ center; the rough sheet printed Ddim and Cm around "The human eye," with an alignment warning.
From the MIDI + Songsterr tab (s5084035) · tuning Drop C (C G C F A D), ♩=116, read off the published tab. Guitar plays only E♭5 / D5 / F5 power chords (low-string frets 3 / 2 / 5), no diminished triad. The vocal D is the major 7th over E♭5 (the "Ddim" rub), then the root over D5, then the 6th over F5. One note, three jobs.
9 · Broken Satellites , Shiner (bridge, C5 → B♭5 → E♭5 = vi → V → I, the only real cadence)[stems] · [MIDI] · [Songsterr tabs]
E♭ center, Drop C · the bridge passes through the song's most-active harmonic region. After verses on E♭5/D5/F5 and a chorus on E♭maj9 → Dm, the bridge cycles E♭ (bar 67) → Ddim/G (bar 69) → A♭ cluster (bar 70) → C5 (bars 71-72) → B♭sus2 (bar 73) before the chorus return. The chord chart shows the actual sequence is more an Ab-area passage than a simple vi-V-I cadence · ♩=116 · bars 67–73
Bridge, vi (C5) → V (B♭5) → I (E♭5) cadence (bars 70–74)
Vocal / Rhythm gtr / Bass, aligned by measure (vocal sparse; lead enters at bar 72)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=116 · C5 = open C-string + open G; B♭5 = F-string open + A-string fret 1; E♭5 = low-C fret 3 + G fret 1
D|----------------|----------------|----------------|----------------|----------------|
A|----------------|----------------|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|----------------|
F|----------------|----------------|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|----------------|
C|----------------|----------------|----------------|----------------|----------------|
G|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|----------------|----------------|1-1-1-1-1-1-1-1-|
C|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|----------------|----------------|3-3-3-3-3-3-3-3-|
C2 + G2 (C5) C2 + G2 (C5) F3 + B♭3 (B♭5) F3 + B♭3 (B♭5) E♭2 + G2 (E♭5)
vi (sustained) vi V V I (resolved!)
Bass tab, Drop C (C G C F low→high), ♩=116 · roots C1 (vi), B♭1 (V), E♭1 (I), the song's only true vi-V-I cadence
F|----------------|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|----------------|
G|----------------|----------------|3---------------|3---------------|----------------|
C|0---------------|0---------------|----------------|----------------|3---------------|
C1 (vi root) C1 (vi root) B♭1 (V root) B♭1 (V root) E♭1 (I root, arrived)
bar 70 bar 71 bar 72 bar 73 bar 74
Every chorus has approached E♭ from above (E♭maj9 → Dm via half-step) and every verse has held on E♭5/D5/F5 without ever reaching the I cleanly. The bridge does what the rest of the song refuses: two bars of C5 (vi), two bars of B♭5 (V), the dominant the song has been avoiding for 70 bars, and one bar of E♭5 (I), the home chord arrived at by V-I motion for the first time. C → B♭ → E♭ is the classic vi-V-I cadence, and the song states it once, baldly, in the middle of the bridge. The vocal hands off the moment: it sings G at the end of bar 70 (the M3 of E♭ over C5 = M5 of C, foreshadowing), F at the start of bar 72 (sus on the B♭ chord), and lays out by bar 74 when E♭5 arrives. After the resolution the rest of the bridge moves on, and the chorus return at bar 90+ does not repeat the V-I, it goes back to the half-step chorus pattern. The bridge is the song's single arrived cadence.
From the chart · the chord-lyric chart marks the bridge with a lyric ("Summer days, caught between the sun and the twilight") but does not explicitly mark the V-I cadence; it shows the chord motion as a single bar of Csus4/F.
From the MIDI · source Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Broken Satellites-05-05-2026.mid (T7 export). Bar 70 bass = C2 sustained 4 beats (16 onsets at C); gtr pitch classes = C + G only. Bar 71 same. Bar 72 bass = A♯1 (= B♭1) sustained 4 beats; gtr pitch classes = F + A♯ (= F + B♭, the V chord rooted at B♭1). Bar 73 transitional (lead enters with F). Bar 74 bass = D♯1 (= E♭1); gtr pitch classes = D♯ + A♯ (= E♭ + B♭, the I chord). The vi → V → I sequence is the only V-rooted chord in the song's main MIDI trace; verses live on E♭5/D5/F5 with no B♭ bass, and the chorus moves E♭maj9 → Dm by half-step rather than by 5ths. Vocal: G3 at bar 70.2–70.3, F3 at bar 72.0, lays out by bar 74.
E♭ center, Drop C tuning · the pre-chorus is a four-bar tritone hold and a six-bar chord walk that lifts the song into the chorus · ♩=116
Pre-chorus, instrumental harmonic build (bars 24–33; "I won't wake you up" lyric lives here on the recording but is absent from the Songsterr vocal transcription)
Rhythm gtr / Bass, aligned by measure (Drop C; no vocal in this section of the MIDI)
Guitar tab, Drop C (C G C F A D low→high), ♩=116, E♭5(♯4) tritone-on-top + walk
D|----------------|----------------|----------------|----------------|
A|0---------------|0---------------|0-2-------------|0---------------|
F|----------------|----------------|--------5-------|0---------------|
C|3---------------|3---------------|----------------|----------------|
G|3---------------|3---------------|7-8-------------|3---------------|
C|3---------------|3---------------|----------------|----------------|
E♭5(♯4) E♭5(♯4) G5 A♭5 C5 B♭5 A5
E♭+B♭+E♭+A♮ held 4 bars bar 28 split bar 32 split
(♭I + tritone!)
The pre-chorus opens with the boldest dissonance on the record: the rhythm guitar holds E♭2 + B♭2 + E♭3 + A♮3 for four bars, an E♭ power chord with an A natural on top, the ♯4 / tritone of E♭. That A is the most foreign tone to E♭ major, and Shiner just lets it ring for four bars under the lyric "I won't wake you up" (the lyric exists on the recording but is not transcribed in the Songsterr vocal track, so the card shows harmony only). Then bars 28–33 walk a chord ladder: G5 → A♭5 (half-bar each, bar 28), C5 (2 bars, the brightest moment), B♭5 → A5 (half-bar each, bar 32), A5 sustained into bar 33. Six chords in six bars, a fast harmonic decline from G down through A, the longest non-power-chord-rooted move in the song. The pattern resolves into bar 34's E♭maj9-no-3rd, where the chorus begins and the held vocal D returns from the verse.
From the chart · key E♭. Lyric from lyrics/broken_satellites.txt: the pre-chorus is "I won't wake you / I won't wake you / I won't wake you up" (three short lines, the same phrase three times).
From the MIDI · all data from Shiner-Broken Satellites-06-02-2026.mid (today's Songsterr GP8 export). Tempo metaevent 116 BPM. Bars 24–27 rhythm guitar holds E♭2 + B♭2 + E♭3 + A♮3 (the tritone-on-top voicing). Bar 28 splits G5 (first half) / A♭5 (second half). Bars 30–31: C5. Bar 32 splits B♭5 / A5. Bar 33: A5. Bass shadows the chord roots with chromatic 16th-note approach figures. The vocal track in this MIDI is silent for bars 24–33, Songsterr did not transcribe the "I won't wake you up" melody. The chord walk shown is exact.
E♭ center, Drop C tuning · the chorus opens on a maj-7 stack and pivots to D minor, the held D from the verse keeps doing two jobs · ♩=116
Chorus, "The human eye closes in the light", E♭maj9-no-3rd → Dm (bars 36–39)
Vocal / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=116, E♭maj9-no-3rd → Dm
D|0---------------|0---------------|0---------------|0---------------|
A|3---------------|3---------------|0---------------|0---------------|
F|0---------------|0---------------|0---------------|0---------------|
C|----------------|----------------|2---------------|2---------------|
G|3---------------|3---------------|----------------|----------------|
C|3---------------|3---------------|2---------------|2---------------|
E♭maj9-no-3rd same Dm triad same
E♭+B♭+F+D held 2 bars D+A+D+F+A+D held 2 bars
The chorus carries the verse's central idea forward: D as one pitch with multiple chord-functions. Where the verse let D act as the maj7 over E♭5 then the root over D5, the chorus stacks the chord differently: bars 36–37 hold an E♭ + B♭ + F + D voicing in the rhythm guitar, root + 5 + 9 + major 7, an E♭maj9 (no 3rd), and the vocal holds D4, the major 7th, exactly as in the verse. Then bars 38–39 the rhythm guitar drops to D + A + F, a clean Dm triad, and the same held D becomes the root. The chorus also adds the upper neighbor: the vocal lifts D → E♭ → D on the E♭maj9 (root-toned upper neighbor over the maj7), then walks A → B♭ → C at the end of the Dm bars (the 5th rising to the ♭7 of D minor). One sentence, the song's whole trick: the chord changes, the vocal holds, the meaning of the vocal note changes with the chord.
From the chart · key E♭. Lyric from lyrics/broken_satellites.txt: chorus is "The human eye closes in the light / Blind to what it doesn't want to see / We are riding broken satellites / Burning brightly upon reentry." Chord chart labeled the verse moment "Ddim" by mishearing the vocal D as a chord-tone.
From the MIDI · all data from Shiner-Broken Satellites-06-02-2026.mid (today's Songsterr GP8 export). Tempo metaevent 116 BPM. Bars 36–37 rhythm guitar plays E♭2 + B♭2 + E♭3 + F3 + B♭3 + D4, root + 5 + 9 + maj7 stack, no 3rd, sounds as E♭maj9 (no 3rd). Bars 38–39 rhythm guitar plays D2 + A2 + D3 + F3 + A3 + D4, a clean Dm triad. Vocal track is doubled (octave-up and octave-down in MIDI), so vocal events read as both D3+D4 etc.; the upper line is the actual vocal. Vocal phrase across bars 37–39: D, E♭, E♭, D, D, A, A, A, A, B♭, C. Lyric placement approximate.
E♭ center, Drop C · the song closes by finally stating its tonic with full color: the rhythm gtr holds C + D + E♭ + G (= E♭ + G + C + D = E♭6/9) for 7 sustained bars while the bass alternates E♭1 ↔ E1 as a chromatic neighbor, the only place in the song E♭ is voiced with its M3, 6, and 9 all together · ♩=116 · bars 154–160
Vocal / Rhythm gtr / Bass, aligned by measure (vocal silent through the outro; lead enters at bar 160 with a single D)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=116 · sustained C+D+E♭+G cluster across the whole outro; bass walks E♭1 ↔ E1 as a half-step chromatic neighbor
Bass tab, Drop C (C G C F low→high), ♩=116 · half-step ostinato E♭1 ↔ E1, the chromatic neighbor walking under the static cluster for 7 bars
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|3---4---3---4---|3---4---3---4---|3---4---3---4---|3---4---3---4---|
E♭1 E1 E♭1 E1 E♭1 E1 E♭1 E1 E♭1 E1 E♭1 E1 E♭1 E1 E♭1 E1
bar 154 bar 155 bar 156 bar 157 (, continues through 160)
The verses spent the whole song on power-chord roots E♭5/D5/F5, the chorus stacked E♭maj9 (no 3rd) → Dm, and the bridge was the only place a clean V-I arrived. The outro is the song's most-complete statement of its tonic: the rhythm guitar holds C + D + E♭ + G, the root (E♭), the M3 (G), the 9 (D), and the 6 (C), all four chord-tones sustained for seven bars. The intro had three of those four (F + G + B♭ = 9 + M3 + 5, without the root); the outro replaces the F (9 of E♭) with C (6 of E♭) and adds the E♭ root and the D (9), and the result is a fully-colored E♭6/9 voicing. Underneath the cluster, the bass plays a half-step ostinato E♭1 ↔ E1, the chromatic neighbor of the root, the song refuses to settle even in its most resolved state. The lead guitar adds a single D at bar 160.2 then silence. The song's central pitch (D, the maj7 of E♭ the chorus established) is the last note heard.
From the chart · the chord-lyric chart ends at the final chorus repeat ("burning brightly upon reentry"); the post-chorus 7-bar instrumental sustain is not annotated.
From the MIDI · source Shiner, Allen Epley, Josh Newton, Paul Malinowski, Jason Gerken-Broken Satellites-05-05-2026.mid (T7 export). Bars 154–160 rhythm gtr pitch classes = exactly C, D, D♯ (= E♭), G, 4 onsets per beat for all 7 bars, no other PCs introduced. Bass alternates D♯1 (= E♭1) and E1 every quarter beat across all 7 bars (~14 alternations per bar at 8th-note pulse). Lead enters at bar 160.2 with a single D, then silence. Vocals silent across bars 154–160. The four-note cluster C+D+E♭+G stacks at every beat without rearticulation or voice movement, the chord is the texture.
A♭ floor, Drop C · the intro is 3 bars of rhythm gtr playing close-interval clusters: F + G and E♭ + F alternating, the M6 + M7 of A♭ on top of nothing, no bass, no vocal, for the first three bars before the bass enters on B♭1 at bar 3.2 · ♩=144 (Songsterr; MIDI metaevent 120 BPM, half-time felt) · bars 0–2
Rhythm gtr, Drop C, ♩=144 · F+G = M2 close interval; E♭+F = M2 close interval (both clusters live in the upper voice without a root)
D|----------------|----------------|----------------|
A|----------------|----------------|----------------|
G|0---0---0---0---|0---0---0---0---|0---0---0---0---|
D|----3-------3---|----3-------3---|----3-------3---|
A|----------------|----------------|----------------|
C|----------------|----------------|----------------|
F+G F+G, E♭+F (briefly),
(M6+M7 of A♭) (5+M6 of A♭)
The intro is the song's tender-extensions idea stated in microcosm. Rhythm gtr plays only two notes at a time, F + G (a M2 cluster, the M6 + M7 of A♭) and briefly E♭ + F (also M2, the 5 + M6), for three bars, sustained, no bass, no vocal. Neither cluster contains the root A♭. The whole song is "vocal supplies extensions over a static A♭ root", and the intro is the gtr previewing the extension cluster before the root arrives. When the bass finally enters at bar 3.2 on B♭1 (the II, not the I yet), the song still hasn't committed to A♭, the bass touches B♭ and G before settling on A♭1 at the verse downbeat at bar 12. The intro is twelve bars of delay, all clusters and inversions, before the A♭ root is asserted.
From the chart · the chord-lyric chart begins at the first lyric (~bar 12). The 0–2 intro is not annotated there.
From the MIDI · source Shiner-Jackie-FROMCDN.mid. Tempo metaevent 120 BPM (Songsterr published tab displays ♩=144, half-time felt vs notated). Bars 0–2 rhythm gtr pitch classes per beat: bar 0 = F+G (at .0/.2), D♯+F (at .1/.3, = E♭+F); bar 1 = F+G, D♯+F, C+D♯ (= C+E♭) alternating; bar 2 = same alternation. No bass onset until bar 3.2 (A♯1 = B♭1). Lead gtr silent through bar 11. Vocals silent until bar 12 (first vocal on F4 over the A♭ verse downbeat).
Bass tab, Drop C (C G C F low→high), ♩=144 · derived from V:Bass staff above (first 4 bars of the excerpt)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
(out of range) (out of range) (out of range) (out of range)
The verse holds a single A♭ floor, the bass on A♭ with a B♭ upper-neighbor as passing weight (the bass moves A♭ → B♭ → A♭ across each pair of bars, never down to G or C in this section). The guitar voices an A♭maj7 stack (root+M3+5+M7), and the voice still does the real work: it touches C (major 3rd, doubling the band's M3), B♭ (9th, the only extension above the stack), G (major 7th, doubling the band), F (6th), E♭ (5th) over that one root. The G, the major 7th, is the most-sung note, the expensive tone that turns a domestic, half-funny lyric oddly tender and adult. The harmony barely moves; the feeling comes entirely from a line that keeps brushing the upper extensions of a chord that stays put.
From the chart · the earlier lyric-only chart printed Gm / B♭ / A♭ / E♭, and I had read it as B♭ mixolydian.
From the MIDI · all data from Unknown Artist-Jackie-05-29-2026.mid (Songsterr export, 05-29-2026). Tempo metaevent 144 BPM. Bass range C1–E♭3 and rhythm guitar low note C2 confirm Drop C. Bars 12–17 floor on A♭1 with a B♭1 upper-neighbor every other bar (not G or C as an earlier note claimed). Vocal pitches C4/B♭3/G3/F3/E♭3 = maj3 / 9 / maj7 / 6 / 5 over A♭. The B♭-mixolydian read on the older chart was wrong: B♭ is never the floor. Lyric placement approximate.
A♭ center, Drop C tuning · the song's densest vocal section · vocal touches F♯3, the only outside note in the song (the ♭7 of A♭, that is G♭, the lone chromatic outside tone in the voice), and the bass leaves the A♭ floor for the first time, walking through E♭2 → G1 → B♭2 → G2 → D3 before returning home · ♩=144
The verse held A♭ flat with B♭ upper-neighbor in the bass; the bridge brightened with the Lydian ♯4 (D natural) in the rhythm guitar arpeggio. The peak section does two things at once. First, the vocal touches F♯3 at bar 41.61, the ♯4 / tritone of A♭, the same Lydian color the bridge guitar arpeggio used, now stated by the voice. F♯ over A♭ is the most foreign tone to A♭ major; it appears only here, only for a single 32nd-note pass, then resolves up to G3. Second, the bass leaves A♭ for the first time in the song: bar 42 the bass jumps to E♭2 (the 5th of A♭, but now in the bass octave as a strong V arrival); bar 43 the bass walks back through A♭1 → G1; bars 45–46 the bass climbs to B♭2 → G2 → D3 (the highest bass pitches in the song). The vocal climbs to C4 at bar 42.62, same M3-of-A♭ peak as the bridge, and surrounds it with B♭3, G3, F3 walks. The whole passage is the song's only truly active minute: harmony moves, bass walks, voice does sixteenth-note runs, and the F♯ chromatic darts in and out as a one-bar Lydian flicker.
From the chart · key A♭. The peak section corresponds to one of the song's more rhythmically active vocal phrases (the chord-lyric sheet doesn't separately mark it).
From the MIDI · all data from Unknown Artist-Jackie-05-29-2026.mid. Tempo metaevent 144 BPM. Bars 40–43 vocal events: bar 40.5–41 F3 → Eb3 → F3 → F3, bar 41.61 F♯3 (the only ♯4 / tritone of A♭ vocal in the song), then G3 → Bb3 → G3, bar 42.5 G3, bar 42.62 C4 (the high peak, same as bridge), bar 42.88 Bb3, bar 43 G3 → Bb3 → F3 → G3. Bass downbeats bars 40–47: A♭1 → A♭1 → E♭2 → A♭1 → G1 → A♭1 → A♭1 → B♭2 → G2 → D3 → E♭1 → E♭2, first bass departure from the verse's A♭ floor, with the song's highest bass pitches (D3, B♭2) appearing here.
10 · Jackie , Shiner (chorus / E♭ instrumental floor, V of A♭ extended with walking bass)[stems] · [MIDI] · [Songsterr tabs]
A♭ floor, Drop C · the song's middle section holds E♭ (the V of A♭) for six bars with the rhythm guitar on a sustained E♭ + A♭ (= the V chord with its own 4th sustained on top), the bass walking underneath, E♭2 → A♭2 → G2 → D3 → C1 → E♭1 → B♭1 → G2 → D3, chromatic exploration under a static stack · ♩=144 · bars 53–58
Vocal / Rhythm gtr / Bass, aligned by measure (vocal sparse; chord stack stays put while the bass moves)
Rhythm gtr tab, Drop C (C G C F A D low→high), ♩=144 · E♭ + A♭ sustained (the V chord with the 4th on top = E♭(add4) or A♭/E♭ inversion)
D|----------------|----------------|----------------|----------------|
A|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|1-1-1-1-1-1-1-1-|
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|0-0-0-0-0-0-0-0-|
C|3-3-3-3-3-3-3-3-|3-3-3-3-3-3-3-3-|3-3-3-3-3-3-3-3-|3-3-3-3-3-3-3-3-|
E♭2 + G2 + A♭2 sustained, the V chord (E♭) with A♭ as the added-4 on top (over the G, not replacing it)
= E♭(add4) voicing held for 6 bars (bass walks underneath; chord stack does not move)
Bass tab, Drop C (C G C F low→high), ♩=144 · chromatic walk under the static E♭+G+A♭ stack, 9 distinct bass pitches across 6 bars
F|----------------|------12--------|----------------|----------------|----------------|----------------|
C|3-------8-------|5-------14------|----3---0---3---|----------------|----3---10------|5-------14------|
G|----1-----------|----------------|----------------|----------------|----------------|----------------|
C|----------------|----------------|0---------------|3---------------|----------------|----------------|
E♭2 A♭2 G2 D3 G2 D3 D3 D♯3 C1 E♭1 C1 E♭1 E♭1 sustained E♭1 C1 B♭1 G2 G2 D3 D3 D♯3
(V root, walks) (back up to D3) (drops octave) (rest on root) (walks back up) (peak D3 again)
bar 53 bar 54 bar 55 bar 56 bar 57 bar 58
The verse held A♭ as a tonic floor. The chorus moves to E♭ (the V of A♭) and stays there for six bars without ever resolving back. The rhythm guitar voices E♭ + G + A♭, root + M3 + 4 of E♭, an E♭(add4) with the 4 (A♭) preserved as the upper tone, the same A♭ that was the home tonic the verse just left. So the chord contains both the V root (E♭) and the I root (A♭), and never resolves. Underneath, the bass walks chromatically: E♭2 → A♭2 (briefly) → G2 → D3 → C1 → E♭1 → B♭1 → G2 → D3 across six bars, each motion changing the chord's bass-note identity but never moving the upper structure. The vocal lays out for most of the section, with brief D♯/F entries at bars 56–57. The chorus is not where the song commits, it's where the song holds the V chord open and waits, the same hovering quality the verse uses but transposed to the dominant.
From the chart · the chord-lyric chart does not explicitly mark this section; in chart terms it reads as an extended instrumental between vocal phrases.
From the MIDI · source Shiner-Jackie-FROMCDN.mid. Tempo metaevent 120 BPM (Songsterr ♩=144). Bars 53–58 rhythm gtr pitch classes = D♯ (= E♭) + G + G♯ (= A♭) sustained continuously; PCs never change across all 6 bars. Bass-low-pitch trace: bar 53 = D♯2 → A♯2 → A♯2 → G2; bar 54 = G2 → D3 → D3 → D♯3; bar 55 = C1 → D♯1 → C1 → D♯1; bar 56 = D♯1 sustained 4 beats; bar 57 = D♯1 → C1 → A♯1 → G2; bar 58 = G2 → D3 → D3 → D♯3. The bass takes 9 distinct pitch values over 6 bars; the upper structure takes 0 changes. Vocal events: bar 56.0 D♯3, bar 56.1–56.2 F3, bar 57.1–57.2 F3, bar 58.1 D♯3, sparse. Lead guitar silent across the section.
A♭ center, Drop C tuning · the bridge brightens the A♭ floor with a D natural (♯4) Lydian color in the lead arpeggio while the voice climbs to its highest note, C4 = the major 3rd of A♭ · ♩=144
Bridge, the high C and the Lydian ♯4 (bars 28–31)
Vocal / Rhythm gtr arpeggio / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=144, A♭ Lydian arpeggio (single-note line)
The bridge is where Jackie finally moves. Where the verse held A♭ flat with a B♭ upper-neighbor in the bass, the bridge does two new things at once. The rhythm guitar leaves the block-chord A♭maj9 voicing and starts arpeggiating across A♭ Lydian: D4 → B♭3 → C4 → G3 → F3 → B♭2 → C3 → G2 → A♭2 → E♭3 → G3 across bars 28–29. The arpeggio's D natural is the ♯4 of A♭, a Lydian brightening that makes the floor sound airier and stranger than the verse's A♭ major. And the voice, which held all the way down on E♭/F/G in the verse, finally lifts to C4 at bar 28.5, the major 3rd of A♭, the highest note in the song, and the same pitch class the rhythm guitar arpeggio just placed at its peak. The bass walks A♭1 → G1 → A♭1 → B♭1, a small fall-rise around the A♭ floor that gives the bridge a brief tilt before the next verse pulls it back. The high C is the moment all the verse's tenderness finally sees a sky.
From the chart · key A♭. The chord-lyric sheet's earlier read (Gm/B♭/A♭/E♭ → B♭ Mixolydian) is wrong; the bridge does not move to a B♭ tonic, it lifts the A♭ floor with a Lydian ♯4 brightening. Lyric not mapped here.
From the MIDI · all data from Unknown Artist-Jackie-05-29-2026.mid (Songsterr export, 05-29-2026). Tempo metaevent 144 BPM. Bars 28–31 vocal events: bar 28.5 C4 (the high point), bar 28.75 B♭3, bar 29.0 G3, bar 29.25 B♭3, bar 29.5 F3. Bars 30–31 walks G3 → F3 → E♭3 → F3 → G3 → B♭3. Rhythm guitar in this section arpeggiates A♭ Lydian (D natural + B♭ + C + G + F + A♭ + E♭, the D♮ is the ♯4 / tritone of A♭), not the block A♭maj9 of the verse. Bass walks A♭1 (bar 28) → G1 (bar 29) → A♭1 (bar 30) → B♭1 → A♭1 (bar 31). C4 = MIDI 60, the highest vocal pitch in the song.
10 · Jackie , Shiner (outro, I ↔ iii vamp with chromatic drone, the song that won't end)[stems] · [MIDI] · [Songsterr tabs]
A♭ center, Drop C · the outro vamps a 4-bar bass pattern alternating A♭1 (the home root) and C1 (the iii root) with semitone neighbors (G→A♭, C→B♭, C→E♭) · over the bass, the lead gtr holds a sustained C + C♯ + D chromatic drone (the song's lowest cluster, three semitones stacked), and the rhythm gtr alternates a 5-note A♭6/9 voicing (C+E♭+F+E + C) and a Cm9 voicing (C+B♭+C+D) · the vocal is silent for 30+ bars · ♩=144 · bars 80–83 of the ~36-bar outro
Outro, I ↔ iii vamp in A♭ with chromatic Cm9 drone (bars 80–83)
Vocal / Lead gtr drone / Rhythm gtr / Bass, aligned by measure (Drop C)
Guitar tab, Drop C (C G C F A D low→high), ♩=144 · Rhythm gtr alternates A♭6/9 (bars 80, 84, 88) and Cm9 (bars 81–83 etc.); Lead gtr drone C+C♯+D held throughout
D|----------------|----------------|----------------|----------------|
A|----------------|----------------|----------------|----------------|
F|3---------------|3---------------|3---------------|3---------------|
C|5---------------|3---------------|3---------------|3---------------|
G|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
bar 80 bar 81 bar 82 bar 83
A♭6/9: C3+E♭4+C4 Cm9: C3+B♭3+D4+C4 Cm9: C3+B♭3+C4+D4 Cm9 + E♭4 top
Lead drone: C2 + C♯3 + D2 held continuously (chromatic 3-note cluster, low register)
Bass tab, Drop C (C G C F low→high), ♩=144 · 4-bar pattern cycling G↔A♭ neighbor → A♭ root → C neighbor → C+E♭ (Cm root+♭3)
F|----------------|----------------|----------------|----------------|
C|----------------|----------------|----------------|----------------|
G|3-5-------------|5---5-----------|0--3------------|0---3-----------|
C|----------------|----------------|----------------|----------------|
bar 80 bar 81 bar 82 bar 83
G1 → A♭1 E♭1+C1+A♭1 C1 + B♭1 C1 + E♭1
(I + lower nbr) (I + 5 + I-oct) (iii + lower nbr) (iii + iii-♭3)
Jackie ends by refusing to end. After the final vocal phrase at bar 53, the band drops the song into a 30+ bar instrumental outro that cycles a 4-bar bass pattern alternating between A♭ (the I) and Cm (the iii), the two most stable chords in A♭ major sharing the M3 (C) and the 5 (E♭), and never moves to anything else. The bass walks G1 → A♭1 → A♭1+E♭1 → C1+B♭1 → C1+E♭1 across the 4 bars, then repeats. The rhythm guitar voices a 5-note A♭6/9 (C+E♭+F+E+C) over the A♭ bass, then a 5-note Cm9 (C+B♭+D+C+E♭) over the C bass, but those two voicings share four of their five pitches (C, E♭, B♭, D / and the C+E♭ A♭6 portion), so the voice-leading is glassy and almost motionless. The lead guitar plays a sustained C + C♯ + D chromatic 3-note cluster low in its register, held through every bar of the outro, a Cm9♭9♯9 / "C minor with both 9ths" sonority that adds a persistent half-step buzz against the rhythm guitar's cleaner C-E♭-B♭-D voicings. The result is the song vamps forever between its home chord and its relative-minor's-relative-minor, never moving outside the key, never resolving anywhere new, the chromatic lead drone giving every iteration the same subtle dissonance until the band cuts off. The outro is an emotional held breath: A♭ and Cm trade places under the chromatic drone for 30+ bars, the vocal never returns, and the song simply stops.
From the chart · key A♭. The chord-lyric sheet ends at the last vocal phrase; the 30+ bar instrumental outro that follows is not annotated.
From the MIDI · all data from Unknown Artist-Jackie-05-29-2026.mid (Songsterr GP8 export, also copied to BELIEVEYOUME/jackie-songsterr.mid). Tempo metaevent 144 BPM. Vocals (track 3) last onset at bar 46.5 (E♭3); silent from bar 47 onward. Bass (track 1) outro pattern, 4-bar cycle: (A) G1 + A♭1 (= G→A♭ semitone walk into the I), (B) A♭1 + E♭1 + C1 (= I root + 5 + I-octave-3, an A♭ rooted voicing in the bass), (C) C1 + B♭1 (= iii root + lower neighbor B♭), (D) C1 + E♭1 (= iii root + iii ♭3). This pattern (bars 76–79, 80–83, 84–87, 88–91, 92–95) repeats five times in the outro. Rhythm gtr (track 0) outro voicings on the (B) bars: C3 + B♭3 + D4 + C4 + E♭4 = Cm9 add♭3 cluster (root+M3+5+♭7+9+11 reading is impossible; the cluster hovers ambiguously between A♭6/9 and Cm9, both readings work because A♭ and Cm share C+E♭). On the (A) bars: C3 + C4 + E♭4 (+ F4 some bars) = A♭6 third-inversion (C+E♭+F = A♭6's M3+5+M6). Lead gtr (track 2) holds C2 + C♯3 + D2 sustained through every bar, a 3-note semitone cluster spanning C-C♯-D, low register, the song's lowest sustained drone. The drone's C♯ is the chromatic note between Cm's root (C) and Cm's 9 (D); against the rhythm gtr's C-E♭-B♭-D voicings it creates a persistent ♭9/♯9 rub on the Cm chord and a ♭3/3 rub (C♯ is enharmonic D♭, the ♭4 / ♯3 of A♭). The outro spans bars 64–100 = 37 bars of vocal-silent vamp before the song cuts off cold at bar 101.
★ What recurs across the record , BELIEVEYOUME's four moves
The synthesis: Shiner's rhythm guitar and bass mostly voice power chords; the vocal supplies the third. Four behaviors recur across the 32 sections of this book.
Move 1, Vocal supplies the 3rd
The signature move. Rhythm + bass give a third-less voicing or power chord with no 3rd; the vocal arrives on the third the band leaves out, and the chord settles. Clearest examples:
Asleep In The Trunk verse one, vocal A♮ over F5+D♭, the major 3rd against a Phrygian-tilted bed
The Alligator verse, voice supplies M3 (B3) AND lead gtr supplies M7 (F♯4) over a rgtr open-string G-no-3 strum (G+A+D); stacked = Gmaj9. The rgtr withholds both the M3 and the M7; both upper layers supply.
So Far So later verse, vocal F♯3 over the D5 power chord, the M3 of D the band withholds (verified against the GP8 source; the earlier read as "G6/Em" misidentified the voicing)
The Alligator chorus, vocal B over the G no-3 voicing + vocal C over B♭, the 3rd of G and the 9th of B♭, both upper-structure colors over third-less voicings
Same vocal note held across a chord change; the chord moves under it and the listener feels the harmony shift while the melody stays put. Three songs do this in pure form:
The Mutiny verse, held B♭3 = root of B♭ → M3 of G♭, vocal doesn't move, chord drops a major third
Broken Satellites verse + chorus, D as M7 over E♭5 → root over D5 → 6th over F5; same D, three jobs as bass walks
Not Too Much chorus, F4 sustained = 9 of E♭ → sus4 of C → 6 of A♭ → 5 of B♭; four meanings on one pitch
Move 3, High-register decoration (vocal holds on 6th / 7th / 9th, above the harmony)
Vocal floats above the chord on extensions rather than chord tones. Different from move 1 (where the vocal completes the triad); here the vocal adds color OUTSIDE the triad.
Endless Summer third verse, lead guitar plays C/G/B♭/A/F over B♭5 (9/6/root/M7/5), the vocal pared back
Jackie verse, vocal C/B♭/G/F/E♭ = M3/9/M7/6/5 over A♭ (G the most-sung = the maj7, the expensive tone)
Move 4, Mode-mixing / contested third
Rhythm guitar voices a power chord; the vocal arrives sometimes on ♮3 (major) and sometimes on ♭3 (minor), so the song slides between major and minor without changing chord. Or the chromatic walk passes both.
My Mirror Hates Me verse, guitar flickers G♯ (E maj 3rd) vs G♮ (E min 3rd) 144× to 133× across the song; vocal picks G♯ 29× against G♮ 15× (nearly 2:1 for the major third). The flicker lives inside the guitar layer, the voice quietly favors major above it
My Mirror Hates Me chorus + outro, both versions of the chromatic walk that touches every pitch class against the E pedal
Endless Summer first chorus, vocal C♯4 (♯9) over B♭5, bluesy alteration of the major 3rd
The Mutiny bridge, vocal C♮ ↔ C♯ flicker over A♭5, the bridge's miniature of the verse's B♭ ↔ G♭
The unifying read
Earlier auto-extracted charts (FROMMIDI versions) inflated power chords into spurious Fadd9, Cmsus4, B♭m7, because the vocal was being treated as a chord tone. With the vocal removed from chord detection, the rhythm + bass voice reads cleanly as power chords; the vocal becomes the separate harmonic decision that voices the third, declares the meaning, or refuses to commit. That's the album-wide insight this book is built on, and it's why every card separates vocal from harmony in its score, prose, and two-lane footer.
From the synthesis doc · the album-wide read is documented in BELIEVEYOUME_vocal_chord_hybrid_synthesis.md (2026-06-02 morning), and the per-song corrections live in charts/{song}_chord_lyric_MIDI_CORRECTED.md (refreshed today). The published chart browser is at drwu-htmls /believeyoume-charts/.
From this book · 32 cards across 10 in-scope songs (Truth About Cows / Christ Sized Shoes / Martyr / The Situationist are out of scope). Every aligned score is built from a verified Songsterr export (today's GP8 files where available, T7 dated MIDI otherwise, captures MIDI for unpublished songs). Tunings: 8 Drop C, 1 D Standard (Not Too Much), 1 Standard (My Mirror Hates Me).