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Rupert Holmes - Escape (the Pina Colada Song) (Chord)
Submitter: waynusofuranus (110) on 2/26/05
Month Views: 1,769 | Total Views: 22,701
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ESCAPE (The Pina Colada Song)
Written by Rupert Holmes

              1     2  +  3     4     1     2     3     4
F-  (VAMP) = |F        Fmaj7/A  G7   |F           Dm/G        |

C-  (VAMP) = |C        Cmaj7/E  Dm7  |C           Em7b5       |


INTRO:  (Drum fill - 5 beats)
F-    C-    F-    C-
                    I was tired of my

VERSE:
F-                          C-
Lady we'd been together too long like a worn out re-
F-                     C-
cording of a favourite song so while she lay there
F-                           C-
Sleepin' I read the paper in bed and in the personal
F-                              C-
Columns there was this letter I read if you like pina co-

CHORUS:
F-                              C-
ladas and gettin' caught in the rain if you're not into
F-                      C-
Yoga if you have half a brain if you'd like makin' love at
F-                           C-
Midnight in the dunes of the cape then I'm the love that you've
F-                            C-
Looked for write to me and es-cape

INTERLUDE:
 1   2 + 3   4    1      1   2 + 3   4      1
|F     G     F   |F     |C     F     Csus4 |C      |

 1   2 + 3   4    1      1   2 + 3   4      1
|F     G     F   |F     |C     F     Csus4 |C                        |
                                              I didn't think about my

VERSE:
F-                              C-
Lady I know that sounds kind o' mean but me and my old
F-                       C-
Lady had fallen into the same old dull routine so I wrote to the
F-                        C-
Paper took out a personal ad and though I'm nobody's
F-                            C-
Poet I thought it wasn't half bad yes I like pina co-

CHORUS:
F-                              C-
ladas and gettin' caught in the rain I'm not much into
F-                         C-
Health food I am into cham-pagne I've got to meet you by to-
F-                                       C-
morrow noon and cut through all this red tape at a bar called O'
F-                        C-
Malley's where we'll plan our escape

INTERLUDE:
 1   2 + 3   4    1      1   2 + 3   4      1
|F     G     F   |F     |C     F     Csus4 |C      |

 1   2 + 3   4    1      1   2 + 3   4      1
|F     G     F   |F     |C     F     Csus4 |C                 |
                                              So I waited with

VERSE:
F-                                C-
High hopes then she walked in the place I knew her smile in an
F-                          C-
Instant I knew the curve of her face it was my own lovely
F-                        C-
Lady and she said oh it's you then we laughed for a
F-                  C-
Moment and I said I never knew that you like pina Co-

CHORUS:
F-                              C-
ladas and gettin' caught in the rain and the feel of the
F-                     C-
Ocean and the taste of champagne if you'd like makin' love at
F-                       C-
Midnight in the dunes of the cape you're the lady I've
F-                          C-
Looked for come with me and escape

FADE:  (with interlude solo repeated)
F-   C-   F-   C-
                 If you like pina co-
F-                              C-
ladas and getting caught in the rain if you're not into
F-                      C-
Yoga if you have half a brain if you'd like makin' love at
F-                       C-
Midnight in the dunes of the cape then I'm the love that you've
F-                            C-
Looked for write to me and es-cape

================================================================================

The entire song is based on a repeated four bar pattern.

It's basically a IV-I progression spiced up with an extension,
passing chord, bass line movement, and a dominant substitution.

            1     2  +  3     4     1     2     3     4
IV chord:  |F        Fmaj7/A  G7   |F           Dm/G        |

 I chord:  |C        Cmaj7/E  Dm7  |C           Em7b5       |

The final chord is omitted under the pick-up notes leading into
each section (except for the FADE).

The electric piano part reveals the logic behind the progression.
The tonic acts as a pedal point while simple triads move above.

F     Am    G     F     Dm         C     Em    Dm    C     Gm
--------------------------         --------------------------
                        A
                                                           D
                        F
      E                                  B                 Bb
            D           D                       A
C     C           C                G     G           G     G
            B                                   F
A     A           A                E     E           E
            G                                   D
F                 F                C                 C
..........................         ..........................
F     F     F     F                C     C      C    C

Here's a full-voiced guitar accompaniment for solo performance:

   F        Fmaj7/A  G7      F           Dm/G
   1     2  +  3     4       1     2     3     4
E|-1--------0--------3-----|-1-----------1-----------|
B|-1--------1--------3-----|-1-----------3-----------|
G|-2--------2--------4-----|-2-----------2-----------|
D|-3--------3--------3-----|-3-----------0-----------|
A|-3--------0--------5-----|-3-----------------------|
E|-1-----------------3-----|-1-----------3-----------|


   C        Cmaj7/E  Dm7     C           Em7b5
   1     2  +  3     4       1     2     3     4
E|-0--------0--------1-----|-0-----------3-----------|
B|-1--------0--------1-----|-1-----------3-----------|
G|-0--------0--------2-----|-0-----------3-----------|
D|-2--------2--------0-----|-2-----------2-----------|
A|-3--------3--------------|-3-----------------------|
E|----------0--------------|-------------0-----------|

On the recording the guitar part is very sparse in the VERSE,
playing funky pentatonic fills in A minor at fifth position.

Example:

   C        Cmaj7/E  Dm7     C           Em7b5
   1     2  +  3     4       1     2     3     4
E|-------------------------|-------------------------|
B|-------------------------|-g10-\-8-----------------|  x = muted note
G|-------------5^----------|-g9--\-7-----------------|  ^ = microtonal bend
D|-------x--7--------7-----|-------------------------|  g = grace note
A|-------------------------|-------------------------|  \ = slide
E|-------------------------|-------------------------|

The INTRO, CHORUS, and FADE utilise triads at fifth position:

   F        Am       G       F           Dm
   1     2  +  3     4       1     2     3     4
E|----------5--------7-----|-5-----------5-----------|
B|-6--------5--------8-----|-6-----------6-----------|
G|-5--------5--------7-----|-5-----------7-----------|
D|-7--------7--------9-----|-7-----------7-----------|
A|-8-----------------------|-------------------------|
E|-------------------------|-------------------------|

   C        G        F       C           Gm
   1     2  +  3     4       1     2     3     4
E|----------7--------5-----|-------------6-----------|
B|-5--------8--------6-----|-5-----------8-----------|
G|-5--------7--------5-----|-5-----------7-----------|
D|-5--------9--------7-----|-5-----------8-----------|
A|-------------------------|-------------------------|
E|-------------------------|-------------------------|
   *  C is played with an index finger barre
   *  G chord adds a 9th to the harmony - Cmaj9/E

There are several variations to the voicings.

Example - a higher part in bars 3 & 4 of the chorus:

   C        Em       Dm      C           Gm
   1     2  +  3     4       1     2     3     4
E|-8--------12-------10----|-8-----------10----------|
B|-8--------12-------10----|-8-----------11----------|
G|-9--------12-------10----|-9-----------12----------|
D|-------------------------|-------------------------|
A|-------------------------|-------------------------|
E|-------------------------|-------------------------|

By far the most important variation is in bar 9 of the CHORUS where
the 'sweet' maj7 is omitted from the F under the bluesy melody line:

"...makin' love at
   midnight"
   F        F/A      G       F           Dm
   1     2  +  3     4       1     2     3     4
E|----------5--------7-----|-5-----------5-----------|
B|-6--------6--------8-----|-6-----------6-----------|
G|-5--------5--------7-----|-5-----------7-----------|
D|-7--------7--------9-----|-7-----------7-----------|
A|-8-----------------------|-------------------------|
E|-------------------------|-------------------------|

However, in the second chorus the idea is dumped when the guitar plays
this higher part:

"...meet you by to-
   morrow noon"
   F        Fmaj7    G7      F
   1     2  +  3  +  4       1
E|----------12-12-12-10----|-8-----------------------|
B|----------10-10-10-12----|-10----------------------|
G|----------10-10-10-10----|-10----------------------|
D|-------------------------|-------------------------|
A|-------------------------|-------------------------|
E|-------------------------|-------------------------|

The INTERLUDE after the first two choruses is the same basic pattern
but with some additional harmony from the electric piano mixed louder.

Arranged for guitar:

   F     G     F     F                 C     F     Csus4 C
   1   2 + 3   4     1   2   3   4     1   2 + 3   4     1   2   3   4
E|-5-----7-----8---|-5---------------|-----------------|-----------------|
B|-6-----8----10---|-6-------6-------|-5-----6-----8---|-5---------------|
G|-5-----7----10---|-5-------5-------|-5-----5-----10--|-5-------5-------|
D|-----------------|---------7-------|-5-----7-----10--|-5-------5-------|
A|-----------------|---------8-------|-----------------|---------7-------|
E|-----------------|-----------------|-----------------|---------8-------|

The solo part sounds like a synthesizer but the chromatic slides, ringing
notes, and 'only-sharp' vibrato suggest guitar strings are the trigger.
Here's one way to play it:

               (F)               (C)
   3  + 4  +    1     1 2 3  4    1                  h   = hammer on
E|------------|-15==|====-13===-|-----|              \   = slide
B|------13/15-|-----|--------17\|\8===|              === = sustained note
G|-12h14------|-----|-----------|-----|              B   = whole step bend
D|------------|-----|-----------|-----|              r   = release bend
A|------------|-----|-----------|-----|              b   = half step bend
E|------------|-----|-----------|-----|              p   = pull off

  (C)            (F)                 (C)
   1 2 3  + 4 +   1     1  2  + 3 4   1  4   1
E|----------15B-|-r===|==-----------|------|-----|
B|====-8 /13----|-----|---b17-r-b-r-|-13==\|\1---|
G|--------------|-----|-------------|------|-----|
D|--------------|-----|-------------|------|-----|
A|--------------|-----|-------------|------|-----|
E|--------------|-----|-------------|------|-----|

There is a variation when the part repeats in the FADE:

         (F)                   (C)                      (F)
    4 +   1     1  2  + 3  4    1      1 2  3  + 4 +     1
E|--15B-|-r===|==----------13-|-15===|====-B15-r-------|-15====
B|------|-----|---b17-r-17===-|------|-----------17p15-|-------
G|------|-----|---------------|------|-----------------|-------
D|------|-----|---------------|------|-----------------|-------
A|------|-----|---------------|------|-----------------|-------
E|------|-----|---------------|------|-----------------|-------

The ambiguous drum INTRO is five beats:

  4   1 + 2 + 3 + 4 +
  *   * *   * * * * *

Considering the very few notes in the tune the singer's pitch is all
over the place. The line "I didn't THINK about my lady" sounds like
he was going for a key change!


Waynus Of Uranus
February 2005
 
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