Endless Nameless tab - nirvana

Subject: TAB: ENDLESS, NAMELESS by Nirvana
Transcribed by John Vettese (spex49d@prodigy.com)

I've only transcribed the intro, verse, and chorus of this song since the
feedback solo that takes you to the ending is way over my head.
Here's what the symbols in the tabulature mean:
~~~ = vibrato
x/x = pick scrape
PM = palm mute
) = unison bend
)

INTRO
|-----------------|
|-----------------|
|-0-0-0-0-0-0-0-0-|   play this figure
|-0-0-0-0-0-0-0-0-|          4x
|-0-0-0-0-0-0-0-0-|
|-0-0-0-0-0-0-0-0-|
    PM----------|
                              1/4
                                )
|-------------|-------------|-14)~~~~~|-14---------------|
|-------------|-------------|-14------|-14---------------|
|-----0-0-0-0-|-----0-0-0-0-|---------|----0-0-0-0-0-0-0-|
|-x/x-0-0-0-0-|-x/x-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-|-----0-0-0-0-|---------|----0-0-0-0-0-0-0-|
      PM----|       PM----|                PM----------|

   3/4                          1/4
    )                            )
|-13)~~~~~|-13---------------|-15)~~~~~|-15---------------|
|-13------|-13---------------|-15------|-15---------------|
|---------|----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-|
|---------|----0-0-0-0-0-0-0-|---------|----0-0-0-0-0-0-0-|
|---------|----0-0-0-0-0-0-0-|---------|----0-0-0-0-0-0-0-|
               PM----------|                PM----------|
   1/4
    )
|-16)~~~~~|~~~~~|
|-16------|-----|
|---------|-----|
|---------|-----|
|---------|-----|
|---------|-----|

VERSE
           1/2           1/2           1/2           1/2
            )             )             )             )
|---------14)-|---------12)-|---------12)-|---------15)-|
|---------14--|---------12--|---------12--|---------15--|
|-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-----|
|-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-----|
          1/2           1/2            1/2          1/2
            )             )             )             )
|---------13)-|---------11)-|---------14)-|---------14)-|
|---------13--|---------11--|---------14--|---------14--|
|-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-----|
|-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-----|

CHORUS
|------------|------------|-----------|------------|
|------------|------------|-----------|------------|
|------------|------------|---5-------|------------|
|----5---5---|----4---4---|-------5---|----4---4---|
|-3----3---3-|-2----2---2-|-3---3---5-|-2----2---2-|
|------------|------------|-----------|------------|

Like I said I'm not even gonna touch the outro cause it's too complex for
me. I'd just say rake, bash, and bend the hell out of your guitar...be
creative. The only part that I do know (that I figured out by complete
luck) is the part near the end where all the instruments stop and you hear
the guitar making a strange humming noise. Here's how you do that:
Drop the tremelo bar about 1&1/2 steps AND THEN take a 12th fret harmonic
on the low e string. It is important that you drop the bar before you take
the harmonic, otherwise it won't sound right. Then you just drop and raise
the pitch of the note. I'm not exactly sure how I would tab this out, and
I'm not exactly sure how far he drops the pitches. Here's how I do it (the
numbers represent the number of steps you drop the pitch of the note):
1&1/2-> 2-> 2&1/2~~~-> 1-> 1&1/2~~~-> 1-> 1&1/2-> 2~~~-> 1/2-> 1~~~-> 1/2->
1-> 1&1/2~~~-> 1-> 2&1/2~~~~~~~~~~~~~
You should be able to do this all with the same harmonic. It takes
practice. Then it's right back into the feedback solo, to the point where
it sounds like Kurt had smashed the guitar and was tearing out the
strings...notice I said "sounds like." Don't go smashing your guitar just
to play this one song. Or if you do, at least wait until you're at a
halfway decent gig.

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Video Endless Nameless

Nirvana - Endless, Nameless
NIrvana - Endless, Nameless - Live

Nirvana - Endless Nameless
Endless Nameless by Nirvana from Nevermind

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Nirvana - Endless, Nameless (1991)
Nirvana performing Endless, Nameless in 1991 on the European Tour.

Nirvana - Peel Session #3 - 03 - Endless, Nameless
September 3rd 1991 Session producer Dale Griffin recalls, 'Dave and Krist were in another world. They looked drained, zombified, tired beyond all help. But Kurt looked far, far worse. I made a bee-line for him. I had worried after session two about how would cope with "The Big Time" and he looked to me like something about "The Big Time" wasn't agreeing with him.' 'I stood two inches from his his face and spoke to him, but his eyes didn't see me, nor did his ears hear me. He hadn't a clue who the hell I was. We decided to let the guys rest, whilst their crew assembled their equipment and Fred (who is a woman) and Mike set up mics and inserted cables and plugged-up compressors, limiters, effects units, reverb, delays, repeats, ..."fairy dust" as it's called in the trade. Kurt fell asleep on the big couch at the back of the recording console.' 'We were well off schedule, but I was prepared to let that go. Better we get something on tape in due course, than stick to the strict rules and risk getting nothing. We'd had two trouble-free sessions - so the guys were "in credit"! Meanwhile, Dave and Krist got themselves up and running and "Fred" showed them up to the BBC canteen for food and the inevitable cup of tea which solves all things. Kurt slept on.' Having given the NIRVANA guys quite some time to sleep off some of their weariness, and to collect their senses again, decisions had to be made as whether or not to go ahead with the session, or abort on the grounds that the band was too wrecked to perform to their, or the BBC's, requirements. 'I'd been pondering that problem for some while, when I noticed that - at the back of the control room, Kurt was beginning to stir and blink and groan ... showing decided signs of movement and consciousness. So I decided that an avuncular chat with him was in order. Dave and Krist had returned, looking rather the better for food and drink and were getting their drum and bass set-ups working - loudly.' But talking with Cobain was more of a problem, 'For a start, he obviously had no idea who the old fart talking to him could possibly be - so I brought up our previous sessions/meetings - but to no avail. The look of him - his eyes, his pallor, his lack of focus worried me greatly, since it reminded me so keenly and, in retrospect, so poignantly, of the later days of Paul Kossoff's life [lead-guitarist with '60s British rock band, Free]; It was a hateful thing to see a young man like Koss wishing his life away on the dross of drugs. I hated to think that the same thing was happening to this likeable and highly talented young American, who was standing so unsteadily just inches from my gaze. I started to ask him whether he felt able to attempt the session today. "Sure, why not!" was his swift reply, though his words were not backed-up by his body's language, like his legs uncertain ability to hold him up for any great period of time. The more we spoke, the more concerned I became that it wasn't fatigue alone that had rendered Kurt almost helpless.' However, the band got together and decided they would go ahead with the recording and leave both Mike Engles and Dale Griffin to complete (mix) it later that evening. Some songs had not been given a title before the guys left, but the Peel office were given these details prior to the date of the broadcast of the session. Unlike the earlier sessions, this one was not well rehearsed, it wasn't as easy-going and pleasurable a session as the others had been; 'With the best will in the world, the set they played was not their finest hour, but I admired the way they did what they had come to MV5 to do, and they didn't complain about their lot the whole of the time they were in the studio.' (33) They played just three songs, pleading extreme fatigue. The session was recorded on a 48 channel SSL G series and a Studer A 800 24 track recorder. It was mastered to Analogue Tape at 15 ips and DAT. 'When we had got the songs onto tape via the highly talented Mike Engles, I took Kurt aside one more time, to try to find out from him just what the problem was - were he, Krist and Dave being overworked to this point by their management, their record company, some other influence? By now, Kurt seemed to have worked-out who-the-hell I was and he nodded and smiled and acknowledged the advice, but there was still that not-quite-there thing in his eyes that made me feel uneasy for him. I'd seen it in others before - and they'd ended-up dead.'