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If You Could Only See Chords - Tonic

 
If You Could Only See Chords
**CAPO 1**


Chords
----------------------------------------------------------
Am	C	G5    G5/F      Em      G       F       D
0	0	3	3	0	3	1	2
1	1	3	3	0	0	1	3
2	0	0	0	0	0	2	2
2	2	0	0	2       0	3	0
0	3	x	x	2	2	3	x
0	0	3	1	0	3	0	x
----------------------------------------------------------


                      Am              C
    If you could only see the way she loves me
                         G5        
    Then maybe you would understand
G5/F                Am            C
    Why I feel this way about our love
                    G5
    And what I must do
                      Am               C                    G5  
    If you could only see how blue her eyes can be when she says
G5/F    
    When she says she loves me



Am   Em   G   F



Am                          
    Well you got your reasons
F                    D
    And you got your lies
Am                          
    And you got your manipulations
F                       D
    They cut me down to size



Am                     C
    Sayin you love but you dont
                           G5
    You give your love but you wont



                      Am              C
    If you could only see the way she loves me
                         G5        
    Then maybe you would understand
G5/F                Am            C
    Why I feel this way about our love
                    G5
    And what I must do
G5/F                  Am               C                    G5
    If you could only see how blue her eyes can be when she says
G5/F                    Am   Em   G   F
    When she says she loves me



Am   Em   G   F



Am                          
    Seems the road less traveled
F                     D
    Shows happiness unraveled
Am                          
    And you got to take a little dirt
                     F  
    To keep what you love
D
    Thats what you gotta do



Am                     C
    Sayin you love but you dont
                           G5
    You give your love but you wont
                              G5/F                    G5
    Youre stretching out your arms to something thats just not there
Am                       C
    Sayin you love where you stand
                             G5
    Give your heart when you can



                      Am              C
    If you could only see the way she loves me
                         G5        
    Then maybe you would understand
G5/F                Am            C
    Why I feel this way about our love
                    G5
    And what I must do
G5/F                  Am               C                    G5 
    If you could only see how blue her eyes can be when she says
Em                     Em   F   G   D      
    When she says she loves me



Em   F   G   Am (x3)



Am                     C
    Sayin you love but you dont
                           G5          G5/F
    You give your love but you wont         (She won't)
Am                       C
    Sayin you love where you stand
                             G5
    Give your heart when you can



                      Am              C
    If you could only see the way she loves me
                         G5        
    Then maybe you would understand
G5/F                    Am            C
    Why I feel this way about our love
                    G5
    And what I must do
G5/F                  Am               C                    G5
    If you could only see how blue her eyes can be when she says
G5/F    
    When she says she loves me


Tablature player for this song:
 
 
Tonic - If You Could Only See Chords :: indexed at Ultimate Guitar.
If You Could Only See tabs @ 911Tabs

About the artist behind If You Could Only See Chords:

The tonic is the first note of a musical scale, and in the tonal method of musical composition it is extremely important. The triad formed on the tonic note, the tonic chord, is thus the most significant chord. More generally, the tonic is the pitch upon which all other pitches of a piece are hierarchically referenced. The tonic is often confused with the root, which is the reference note of a chord, rather than that of the scale.

After tonic, the names of the remaining scale degrees (of a diatonic scale) in order are as follows: supertonic — second scale degree (the scale degree immediately "above" the tonic); mediant — third scale degree (the "middle" note of the tonic triad); subdominant — fourth scale degree (called subdominant not because it is the scale degree immediately "below" the dominant, but because it is effectively a fifth "below" the tonic); dominant — fifth scale degree (the most "pronounced" harmonic note after the tonic); submediant — sixth scale degree (the "middle" note of the subdominant triad); leading tone (or leading note) — seventh scale degree (the scale degree that "leads" to the tonic); subtonic - also seventh scale degree, but applying to the lowered 7th found in the natural minor scale. 1 and 8 notes are the Tonic.

In western European tonal music of the 18th and 19th centuries, the tonic center was the most important of all the different tone centers which a composer used in a piece of music, with most pieces beginning and ending on the tonic, usually travelling to the dominant (the fifth above the tonic, or the fourth note up from the tonic) in between.

There can be major scales and minor scales. The tonic remains the same in these two different "modes," for a given key, whereas scale degrees such as the third degree and the sixth degree are altered in the minor scale.

This can be seen another way. Each minor scale uses exactly the same set of notes (key signature) as some major scale and vice-versa. The only difference is which of these notes functions as the tonal centre — which of them is the tonic. For example, C major and A minor have no sharps or flats. Consequently, the tonic plays an important part in determining why music composed using a minor mode sounds different from music composed using a major mode.

A tonic may be considered a tonal center, while a pitch center functions referentially or contextually in an atonal context, often acting as axis or line of symmetry in an interval cycle (Samson 1977). Pitch centricity was coined by Arthur Berger in his "Problems of Pitch Organization in Stravinsky".

The tonic diatonic function includes four separate activities or roles as the principal goal tone, initiating event, generator of other tones, and the stable center neutralizing the tension between dominant and subdominant. The tonic of a scale can sometimes be determined by those with perfect pitch.

Indexed at Wikipedia.

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