Everlong 1/8

ic Check M Listen to the Foo Fighters’ supercharged hit “Everlong” from their sophomore release, The Colour and the Shape, and it’s hard to imagine this post-grunge rocker in an acoustic setting. But Dave Grohl somehow reimagined the track as a solo acoustic number, and he did such a good job with it that this version is nearly as popular as the original, which peaked at No. 1 on Billboard’s Alternative Songs chart. One key factor in translating this piece to the acoustic realm: Grohl doesn’t try to replicate the blood-pumping chorus of the original. Instead of digging into the guitar part and screaming through the vocals at the top of his range, Grohl keeps his voice down in the lower octave, giving the song a completely different feel.

n Stage O First off, make sure you tune your 6th string down a whole step to D to get into Drop D tuning. You can do that by tuning the 6th string with the octave D on the open 4th string, or you can fret the 6th string at the 7th fret and match that note against the open A string. Many of the chords throughout this song are based on familiar barred power chord shapes that place your index and ring fingers two frets apart on a pair of strings. What’s interesting about this song, though, is that because of the Drop D tuning (and where the shapes are played), you’re often playing more complex chords, like major seventh and sus2 sounds. The seven measures in the intro are a great example of this. Notice how only that power chord shape is used throughout the intro to create Dmaj7, Bsus2, and Gsus2 chords. Pay close attention to how these chords are formed, though. You’ll need to play the open 6th string (D) underneath the Dmaj7 chord. Then, for the Bsus2 shape, all you have to do is shift your index finger so that it barres across the bottom two strings at the same fret. Slide that (EX1) shape down four frets for the Gsus2 chord and that’s the entire intro and verse sections of the song. Listen the provided sound-alike track, slowing it down with the TNT software if you need to, to hear which notes to accent. You’ll generally want to accent the notes on the higher strings.

Dmaj7 Bsus2 9fr. 9fr.

13 113 Rhy. Fig. 1

# 4 & # 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ letœ ring throughoutœ œ œ œ œ œ T F A . 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 . 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 0 B 0 0 0 0 0 0 0 0 9 9 9 9 9 9 9

Gsus2 Bsus2 3fr. 9fr. end Rhy. Fig. 1 5 113 113 # & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T A 7 7 7 11 11 11 11 11 . 5 5 5 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9 9 9 . B 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9

(EX2)

G5 B5 5fr. 9fr.

1113 11134

(EX3) Dmaj7 Doct Dsus2 D Dsus A5 4fr. 5fr. 9fr. 10fr. 7fr.

1 3 1 3 1 3 1 3 1 3 1113 43 # œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T 6 6 6 7 7 7 9 9 9 11 11 11 11 12 9 A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 7 4 4 4 5 5 5 7 7 7 9 9 9 9 10 0 7 B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 7 (EX1)

(EX1)

Dmaj7 Bsus2 9fr. 9fr. Dmaj7 Bsus2 13 113 9fr.Rhy. Fig. 1 9fr.

13 113 Rhy. Fig. 1 ## 4 œ œ œ œ & 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ## 4 . œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ & 4 . œœ letœ ringœ throughoutœœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T F œ œ œ œ œ œ œ œ let ring throughout A œ .œ œ 11 11œ 11 11œ œ œ 11 11 11œ 11 11 11 11 11 11 11 11 11 F . 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 0 T B 0 0 0 0 0 0 0 0 9 9 9 9 9 9 9 A . 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 . 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 0 B G0sus20 0 0 0 0 B0sus2 0 9 9 9 9 9 9 9 3fr. 9fr. Gsus2 Bsus2 end Rhy. Fig. 1 5 113 113 3fr. 9fr. end Rhy. Fig. 1 5 113 # 113 # œ œ œ œ œ œ œ œ . & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . ## œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ 54 &EverlongT œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . A œ œ œ œ7 œ7 œ œ œ7 œ œ 11 œ11 œ œ11 œ œ œ11 œ œ œ11 . œ œ5 5 5 œ5 œ5 5 œ5 5 9 9 9 9 9 9 9 9 9 9 9 9 9 . T B 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9 A 7 7 7 11 11 11 11 11 . 5 5 5 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9 9 9 . B 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9 The only other barre-chord shapes in the piece are very similar to the previous shape. For the G5 chord, barre your index finger across the bottom three strings, then add that ring finger on the 3rd string, up two frets. For the B5 chord, you’ll also need to put the pinky down one more fret higher on the 2nd string. Here are the two (EX2) shapes: (EX2) G5 B5 G5 5fr. B5 9fr. 5fr. 9fr. 1113 11134 1113 11134

In the pre-chorus, we find our most complicated set of chords, or at least they look complicated. But don’t let all of those quick-changing chords and funky names intimidate you. What’s really going on here is you’re simply moving an octave shape up the fretboard. Start with your index finger on the 4th fret of the A string (EX3)and your ring finger on the 6th fret of the G string. Strum through all of the bottom four strings, letting those Dmaj7 Doct Dsus2 D Dsus A5 (EX3) two open D strings ring out, and just slide this two-fingered formation up a fret or two, following the TAB. 4fr. 5fr. 9fr. 10fr. 7fr. Dmaj7 Doct Dsus2 D Dsus A5 1 3 1 3 1 3 1 3 1 3 1113 43 4fr. 5fr. 9fr. 10fr. 7fr.

1 3 1 3 1 3 1 3 1 3 1113 43 # œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ & œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ & œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œœ T œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ 6 6 6 7 7 7 9 9 9 11 11 11 11 12 9 A œ 0 œ 0 œ 0 œ 0 œ 0 œ 0 œ 0 œ 0 œ 0œ 0œ 0œ 0œ 0œ 0œ 7 T B 4 4 4 5 5 5 7 7 7 9 9 9 9 10 0 7 6 0 6 0 6 0 7 0 7 0 7 0 9 0 9 0 9 011 011 011 011 012 0 09 7 A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 7 4 4 4 5 5 5 7 7 7 9 9 9 9 10 0 7 B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 7

Tip With the open strings and fretted chord shapes way up the neck, this song is difficult to transpose to other keys while retaining the same sound. If it’s a little too low for your voice, try using a capo at the 1st or 2nd fret, but you may have trouble grabbing the chord shapes as you move the capo higher, since they’ll be so high up the neck.

If this song simply isn’t within your range, this just provides another open-mic opportunity. Open mics are a great place to meet other musicians to play music with. Watch the other performers and listen for someone whose voice might fit this song well. If you hit it off, the two of you could perform the song together at the next open mic—you on guitar and your partner on vocals. As an added bonus, your two voices will likely blend well singing harmonies, since you’ll have different vocal ranges, so you could also try coming up with a harmony part for “Everlong.” 40 55 EVERLONGEverlong Gtr. tuned in Drop D ➅ = D ➂ = G (Acoustic) ➄ = A ➁ = B Words and Music by DAVID GROHL ➃ = D ➀ = E Moderately fast = 144 q Intro: Dmaj7 Bsus2 9fr. 9fr.

13 113 Gtr. 1 (acous.) Rhy. Fig. 1 ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ letœ ring œthroughoutœ œ œ œ œ T F A . 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 . 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 0 B 0 0 0 0 0 0 0 0 9 9 9 9 9 9 9

Gsus2 Bsus2 3fr. 9fr. end Rhy. Fig. 1 5 113 113 ## œ œ œ œ œ . & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ T A 7 7 7 11 11 11 11 11 . 5 5 5 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9 9 9 . B 5 5 5 5 5 9 9 9 9 9 9 9 9 9 9 9

Verse 1: w/Rhy. Fig. 1 (Gtr. 1) cont. simile, 2 times Dmaj7 Bsus2 Gsus2 9fr. 9fr. 3fr.

8 13 113 113 ## . j j j j & œ œ œ œ. Ó ‰ œ. œ œ œ œ œ œ Œ Ó Ó j Hel - lo, I’ve wait - ed here forœ you, evœ. - erœ -

Bsus2 Dmaj7 Bsus2 9fr. 9fr. 9fr.

13 113 13 113 ## . j j œ œ j & ∑ œ œ œ œ. Ó ‰ œ. œ œ œ œ long˙.. To - night, I throw my - selfJ in - to

Gsus2 Bsus2 3fr. 9fr.

18 113 113 ## & ˙ Ó Œ ‰ j Œ j j ˙ andœ outœ - taœ theœ œred, œ outœ ofœ herœ headœ œ sheœ œsang.