Creating Depth and Dimension with Cut Out Wutch

Cut out witch is a term used to describe the practice of eliminating negative influences or toxic relationships from one's life. It refers to the act of removing individuals who bring negativity, drama, or harm into one's personal or professional life. This practice may involve setting boundaries, distancing oneself from certain individuals, or completely cutting off contact with them. Cutting out witches can be a necessary step in prioritizing one's own well-being and mental health. Toxic relationships can have a detrimental effect on one's overall happiness and can drain their energy and confidence. By removing these negative influences, individuals can create a healthier and more positive environment for themselves.

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Kahiara Actually I think the husband passed away, She sang for you last night She heard you were calling Many people say they have felt, heard, or seen their loved ones after they have passed. Kahiara Actually I think the husband passed away, She sang for you last night She heard you were calling Many people say they have felt, heard, or seen their loved ones after they have passed.

By removing these negative influences, individuals can create a healthier and more positive environment for themselves. Identifying the individuals who need to be cut out can be challenging but is essential for personal growth and development. Some common signs of a toxic relationship include constant criticism, manipulation, disrespect, and lack of support.

Cut-Out Witch

Long-time Guided By Voices guitarist Doug Gillard has mentioned that Robert Pollard gives the band a fair amount of freedom with his songs so that they can incorporate their own ideas. In this way, some songs have evolved a bit from their original incarnations, and are therefore played differently live than they were on the album recordings.

“Cut-Out Witch” is a good example of this. If you watch the documentary “The Who Went Home And Cried,” you can see Pollard playing this song on guitar. I’ve observed a few differences between the way he performed it there and the way Doug Gillard currently plays it live, so in this post, I’ll split the tablature up in a few spots to highlight those differences.

Here are the chords that are common to both the Pollard and Gillard methods of playing this song.

The guitar riffs in “Cut-Out Witch” use an “Open String Drone” guitar technique. In Figure 1, the intro riff features fretted notes on the third string played along with the open second string. Play this figure three times.

Next in the song’s intro is Figure 2. It’s the same as Figure 1 but with a slide up at the end, from the fourth fret to the fifth on the third string. After Figure 2, you’ll play Figure 1 one more time, then go to Figure 3.

Figure 3 is also the same as Figure 1 but with a slightly different ending again. You’ll play this figure one time.

Figures 4a and 4b show the main riff; this is still part of the intro, but the tempo picks up a bit now. It’s split into 4a and 4b because Pollard and Gillard play it slightly differently. Figure 4a shows how Pollard plays it: there’s an A note on the open fifth string followed by another A (an octave above) on the seventh fret of the fourth string.

As shown in Figure 4b, Gillard plays the second A note on the second fret of the third string instead of on the fourth string. Whichever way you choose to play this riff, do it four times here.

Figure 5 and we’re still technically in the song’s intro. At this point, the rest of the band kicks in (and, when performed live, the audience goes a little nuts). There are two guitars now, with one strumming the chords indicated above the tablature and the other still playing the Figure 4 riff. You’ll play this figure four times.

As we move into the verse, we see the main difference between Pollard’s and Gillard’s styles of playing this song. First, let’s look at Pollard’s. He’s using a full barre chord on the fifth fret to play the A chord, then a “Floating Chord Shape” (using an open D chord shape on the fifth fret) for the Dm7. He then moves that shape down to the open position for a D chord, followed by a B11/A, which is essentially an open A chord shape moved up two frets. Then he plays a G/A chord and then heads back to the barre A.

Using the chords in the diagrams above, Figure 6a shows the verse with the lyrics.

Now let’s take a look at how Gillard plays the verse. He’s mainly using a floated A chord shape and moving it up and down the neck for most of the verse, muting the first string. The A note on the open fifth string is played throughout all these chords.

Figure 6b shows the verse with the Gillard chords and the lyrics.

For the song’s verse, you’ll play either 6a or 6b two times, then go into the chorus, shown in Figure 7. You’ll play Figure 7 four times.

After Figure 7, you’ll play Figure 6 two times again for the second verse, then play Figure 7 four more times for the second chorus.

Next is Figure 8, which again uses an “Open String Drone” technique similar to how Pollard used it in songs such as “Bunco Men” and “You Own The Night“: a fretted note on the sixth string with the fifth string ringing an open A note throughout. You’ll play Figure 8 one time.

After Figure 8, you’ll play Figure 9 three and a half times. In other words, on the fourth time through, you’ll only play the first two measures (the top line of the tablature). Also, on the second time through, another guitar starts playing the Figure 4 riff, coming in on the third measure of this figure.

From there, Gtr 1 will strum the chords indicated above the tablature in Figure 10, while Gtr 2 continues playing the riff in the tablature. You’ll play this figure two times.

For Figure 11, one guitar will continue playing the main riff while the other continues strumming the chords. You’ll play this figure four times. On the album recording, the song fades out at that point; when played live, the guitars end on an A barre chord.

Do you think she can change your life?
Do you think she can change your life?
Do you think she can change your life?

It is important to trust one's instincts and recognize when a relationship or friendship is no longer serving them. Cutting out witches does not necessarily mean completely severing all ties with the individual. In some cases, it may be enough to set firm boundaries and limit interactions. In more extreme cases, however, completely cutting off contact may be the best option for one's mental and emotional well-being. It is vital to remember that cutting out witches is not an act of cruelty or spite, but rather an act of self-care. By eliminating negativity from one's life, individuals can create space for positive experiences, supportive relationships, and personal growth. It is essential to prioritize one's own happiness and mental health above all else..

Reviews for "The Therapeutic Benefits of Cut Out Wutch"

1. Sarah - 1 star - "I was really disappointed with 'Cut out wutch'. The plot was confusing and hard to follow, and the characters were not well-developed. I found myself losing interest and just wanting the story to be over. The writing style was also lacking, with repetitive phrases and awkward sentence structure. Overall, I would not recommend this book to others."

2. Mike - 2 stars - "Although 'Cut out wutch' had an interesting concept, it fell flat in execution. The pacing was all over the place, with parts of the book dragging on and others feeling rushed. The dialogue was not authentic and seemed forced, which made it difficult to connect with the characters. Additionally, there were several plot holes that were never addressed or resolved. Overall, I found this book to be underwhelming and would not read it again."

3. Lisa - 3 stars - "I had high hopes for 'Cut out wutch', but unfortunately, it didn't live up to my expectations. The storyline had potential, but it lacked depth and the twists felt predictable. The characters were also quite one-dimensional and lacked any real development or growth. While it was a quick read, I was left feeling unsatisfied and wanting more from the plot and characters. I wouldn't consider this book to be a standout in its genre."

4. John - 2 stars - "I struggled to connect with the characters in 'Cut out wutch'. They were poorly fleshed out and lacked depth, making it difficult to care about their fates. The writing style was also not to my taste, with unnecessarily complex sentences that seemed to drag on. The pacing was off as well, with the story moving too slowly in some parts and too quickly in others. Overall, I found this book to be forgettable and would not recommend it to others."

5. Emily - 1 star - "I couldn't get into 'Cut out wutch' at all. The plot was confusing and disjointed, making it hard to follow what was happening. The characters were uninteresting and their actions didn't always make sense. The writing style was also lackluster, with repetitive descriptions and clichéd dialogue. I struggled to finish this book and wouldn't recommend it to anyone looking for a captivating read."

Cut Out Wutch: Where Art and Design Collide