Intro 1
G
Instrumental
D
The black and
Verse 1
Instrumental
A C A
scarecrow as everyone knows
Outro
D A
straw everywhere
D
He didn't care
G Am D
He stood in a field where
G A
barley grows
D
Verse 2
G A D
A
His head did no thinking
C A G
His arms didn't move except
A
when the wind cut up
D A D
Rough and mice ran around on the ground
G Am G A
He stood in a field where barley grows
D
Verse 3
D
The black and green
A C A
scarecrow is sadder than me
G A
But now he's resigned
to his fate
D A
'Cause life's not unkind,
D
he doesn't mind
G Am G A
He stood in a field where barley grows
Outro 1
And I am not frightened of dying
Any time will do, I don't mind
Instrumental
There's no reason for it, you've gotta go sometime
I never said I was frightened of dying
Instrumental
Traducción literaria al español — fiel al sentimiento del autor, no es cantable.
Y no le tengo miedo a morir
Cualquier momento está bien, no me importa
¿Por qué habría de tenerle miedo a morir?
No hay razón para eso, en algún momento hay que irse
Nunca dije que le tenía miedo a morir
Nunca dije que me daba miedo morir
Traducción literaria al italiano — fiel al sentimiento del autor, no es cantable.
E non ho paura di morire
Qualsiasi momento va bene, non mi importa
Perché dovrei aver paura di morire?
Non c'è motivo, prima o poi devi andartene
Non ho mai detto di aver paura di morire
Non ho mai detto di temere la morte
Traducción literaria al portugués — fiel al sentimiento del autor, no es cantable.
E eu não tenho medo de morrer
Qualquer hora serve, não me importo
Por que eu teria medo de morrer?
Não tem motivo pra isso, todo mundo tem que ir um dia
Eu nunca disse que tinha medo de morrer
Eu nunca disse que tinha medo de morrer
La historia detrás
Imagine being in Abbey Road studio in 1973. Pink Floyd is recording something special for their album The Dark Side of the Moon. The song is The Great Gig in the Sky, and what makes it unique is the voice of Clare Torry. She walks into the studio without knowing exactly what to do, only being told to think about death or something terrible and sing. What comes out of her mouth is pure emotion, an improvisation that leaves everyone speechless. At first, Clare feels embarrassed, but the band is delighted. After just three takes, the song is done. The piece, composed by Richard Wright, is an emotional journey that combines progressive rock with a touch of gospel. Clare's voice becomes another instrument, taking the listener through a sonic landscape that evokes the sadness and inevitability of death. Additionally, the backing vocals of Gerry O'Driscoll and Myfawny Watts add a special touch. This song is not only part of an iconic album, but has also become a cultural phenomenon, especially when synchronized with scenes from The Wizard of Oz. Although the band members say it is pure coincidence, the magic is there.