Author/Artist: Utopia Title: Mated Album: POV This straightforward love song (with a Romeo and Juliet, lovers-against- the-world slant) has smooth harmony with a key modulation that serves to heighten the song's drama. Key changes are one of the most abused musical devices. Used indiscriminately, they can give the songs that unmistakable "cheese factor", ruining what might otherwise be a fine song... witness Barry Manilow. Todd has avoided this problem by rarely using self-conscious modulations. When he does, as in Mated, it's done in a surprising but musically logical way. "Mated" has 2 changes of key center: one is coming from the verse, which is in G, to the chorus, which is in D. This change is fairly subtle and gives the chorus a bit of lift or brightness compared to the verse. The other change happens ostentateously in the last line of the bridge ("it's way beyond what they call love",) when the key center suddenly comes unhinged. The passing chords during that line can't be heard as belonging to any particular key, but the ascending whole-tone melody and symmetrical bass line drive the key inexorably up and up. Finally, after a dramatic 6-beat pause in which the singer has little choice but to exhort the listener with a soulful melisma, the new key of A can finally be heard. Whew! - was it good for you, too?! For this arrangement, I've transposed the song down 1/2 step from the studio version to the key of G (it's also played in this key in the "Live in Japan" video.) If you want to play along with the record, the chords can be easily transposed - or use a capo. -------------------------------------------------------------------- Intro (*1): Gmaj7 Em7 G/C D7 Verse (*2): C D Em7 Everyone asks, are we some kind of lovers? C D Em7 Everyone asks what you're doing with me C D Em I know this is not what they want, they're afraid you've been blinded C D Em7 A7 But I already know how it's going to be Chorus A (*3): Bm7 A Gmaj7 A If anyone should ask, Say we're mated Bm7 A Gmaj7 A/D D For as long as this life lasts, We are mated Bm7 A G F#7 Why else would you be here right now Bsus4 Bm7 And you know we'll still be here tomorrow Nobody else understands what I'm doing Nobody else makes me act in this way And because they can't comprehend what we mean to each other They won't leave you alone so you know what to say If anyone should ask, Say we're mated For as long as this life lasts, We are mated Why else would you be here right now And you know we'll still be here tomorrow Chorus B: I hold you in my heart, 'cause we're mated In a very special part, we are mated Why else would I be here right now Bsus4 B7 And you know I'll still be here tomorrow Bridge (*4): Em7 D C G/B I see things far ahead, maybe light Em7 G/C F Maybe beautiful children G/C D Em I don't have words I'm thinking of D#/F F/C B/F# C# But it's way beyond what they call love (Key change - modulates up one whole step.) C#m7 B Amaj7 B If anyone should ask, Say we're mated C#m7 B Amaj7 B/E E For as long as this life lasts, We are mated C#m7 B A G#7 Why else would you be here right now C#sus4 C#m7 And you know we'll still be here tomorrow (Chorus, lyrics part B, but with chord changes from part A. Chorus continues until fade-out.) -------------------------------------------------------------------- (*1, Intro:) Gmaj7 Em7 G/C D9 _x___x o_____ x x |||||| 1|||||| |||||| |||1|| |||||| |12||| 3|1111| 3|2||3| 31|||2| ||||4| |||2|| ||4||| ||34|| |||||| ||3||| |||||| (*2, Verse:) Everyone asks, are we some kind... ...going to be C D Em7 A7 x x x 3|11111 5|11111 7|11111 5111111 |||||| |||||| ||||2| |||2|| ||222| ||222| ||3||| |3|||| |||||| |||||| |||||| |||||| (*3, Chorus) If a- nyone should ask.. Bm7 A Gmaj7 A/D D x x x x x |||||| 511111| 31|||2| 5|1111| 5|11111 |||||| |||2|| ||34|| |||2|| |||||| 71|222| |3|||| |||||| ||3||| ||222| |||||| |||||| |||||| |||||| |||||| ...right now, And you know... ...tomorrow (play C7 in chorus part B) F#7 Bsus4 Bm7 B7 x x x x 2111111 2|1111| 2|11111 2|11111 |||2|| |||||| ||||2| |||||| |3|||| ||3||| ||3||| ||3|4| |||||| ||||4| |||||| |||||| (*4, Bridge) I see things far a- head, Em7 D C x x x x x x 7|1111| 5|1111| 3|1111| ||||2| |||||| |||||| ||3||| ||222| ||222| |||||| |||||| |||||| maybe light, Maybe beautiful chil- dren G/B Em7 G/C F x ______ x ______ 2|111|| 1|||||| 3|11111 1111111 ||||22 |12||| |||2|| |||2|| |||||| ||||44 ||3||| |34||| |||||| |||||| |||||| |||||| I don't have words I'm thinking of C D Em7 x x x 3|11111 5|11111 7|11111 |||||| |||||| ||||2| ||333| ||222| ||3||| |||||| |||||| |||||| But it's way be- yond what they call love Eb/F F/C B/F# C# x x x x x |||||| |||||| ||||11 9111111 8|1111| 81||||| |||2|| |||3|| |||||| |||||| 9|3|||| |34||| |||||| ||333| |||||| |||||| (The key modulates here one whole step up, from G to A. The fingerings can remain the same, just move everything up 2 frets.) -------------------------------------------------------------- About my tab style: This message should be displayed in a mono-spaced font, or the chord diagrams and tabs will look unaligned. The letter to the left of the slash in chord names like "A/D" refers to a triad, and the letter to the right refers to the bass note only. The number directly to the left of the chord diagram is the position on the guitar neck (or closest higher fret). "x" along the top means mute or deaden that string, "o" means let it ring open. If you see any mistakes, or have any corrections or alternate ways of playing any of my tabs, I'd love to hear from you. Please email me at lsprague@user1.channel1.com or l.sprague@bull.com Last revised 11:00pm Sunday, July 13, 1997 -- ...Lin Sprague... lsprague@user1.channel1.com -OR- lsprague@cass.ma02.bull.com