Chords for Alter Bridge: Walk The Sky - In The Studio
Tempo:
90.15 bpm
Chords used:
C#
G#
C#m
A
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Oh, hi.
[G#]
[B]
[D#] [F#] [C#]
[G#]
Walk the Sky was a great process in the end.
It was an experiment [F#] relative to how we'd made records in the past.
[Fm] Especially once we started with Blackbird, [C#] it was like assembling sonic puzzles.
[Fm] As we'd get together, Mark and I in particular, and put these [F] sections of songs together.
[Fm] But we didn't have that luxury on this because of the amount of touring that I was doing
[A#m] and the amount of travel Mark [C#] was doing as well.
So [Fm] it forced us to become [F] much more diligent and [Fm] focused, I think, in a lot of ways.
To not just come up with individual [A#] ideas, but to make sure to complete at least a skeleton of a song.
So that we'd have [C#] something to present to the rest of the [G#] guys.
Well, I'm all energy, where [G#m] you I see.
[G#] If I were to take their past work, [A#] I would say it's got Fortress and AB3 [G#m] thrown into a blender.
Those two, it kind of dances between the aggressiveness and in-your-face-ness of Fortress.
[C#] But it's also got kind of a dark [Fm] somberness of Alter Bridge 3.
There's one or two [C#] songs that to me [G#] straight up give me a
Like could have been from the [C#] Blackbird era of when I first got involved with the band.
I think it's going to be one of the classic albums in their catalog.
[C#m]
I'm always trying to find new inspiration when I'm writing albums.
And see if I can approach it differently.
With this record, what I did was, instead of just finding drum loops and programming drums to play to,
I would go online and find different kind of loops.
Like I stumbled upon some [G#] old school retro [C#] synth wave kind of stuff.
[C#m] Like old John Carpenter soundtrack kind of loops.
And [C#] just try something different.
And all of a sudden, these ideas [G#] just started popping out.
And I created chord [C#m] progressions over these [C#] kind of droney synths.
And I [C#m] remember calling Miles and saying,
This is kind of what I'm chasing down right now.
And he [D#] really agreed with it.
He's like, I [G#] love that vibe.
I think it's killer.
[C#] And let's just go for it.
Not that this whole record is going to be some synth wave record.
But there's a couple [G#] songs that are influenced by [F] just that [D#] John [E] Carpentery kind of thing.
I just pick up a [C#m] guitar and start playing.
And [A] on this record it was different because [C#m] I went back [F#] to Logic.
It's a recording platform.
[B] And there are so many tools [A] to help inspire you [G#m] in that realm.
I know [F#] Mark talked about he went to YouTube [D] and he's doing loops [E] there.
But I would just [C#] find, maybe program some drum [A] beats.
Maybe I'd start out programming [C#m] some sort of [A] pad synth-wise.
That would just [F#] speak to me and create [C#] a creative spark.
To where then a whole song would blossom from [C#m] there.
So there are a number of different ways to do that.
Sometimes you just hear something in your head.
I'd be on a flight on the road.
I'd hum whatever I heard into my phone and chase down the rest of the idea.
There's a certain amount of pressure in knowing that you want it to be at a certain level.
I [A] try not to think about that because [C#] otherwise you're going to get [C#m] paralysis by analysis.
[C#] I try to have a fresh [Fm] canvas and try not to think about [F] any expectations.
Where it [G#] gets difficult is when you [B] know that you don't have all the boxes [A] checked.
With [G#] Alter Bridge, every [F#] fan has their [C#m] favorite type of song.
We've [B] got the anthems, we've got the [G#m] ballads, we've got the [F#] more aggressive songs, riff-based songs, [D] metal.
So we try to have [D#] all those boxes checked to some degree.
[A] I think fans will dig Walk [E] the Sky.
I [C#] think it's got everything an Alter Bridge fan would like.
It's something [A] different.
[G#] From the feedback I've gotten so far from playing it for friends and family,
it's got its own identity for sure.
It doesn't sound like any particular [C#] Alter Bridge record, which is good.
I think every record should have its [D] own voice and [G#] own personality.
I think this [C#] record has it.
It's got its own dynamics.
[D] It tells [C#] a new story and I can't wait to share it with people.
[C#]
[G#]
[B]
[D#] [F#] [C#]
[G#]
Walk the Sky was a great process in the end.
It was an experiment [F#] relative to how we'd made records in the past.
[Fm] Especially once we started with Blackbird, [C#] it was like assembling sonic puzzles.
[Fm] As we'd get together, Mark and I in particular, and put these [F] sections of songs together.
[Fm] But we didn't have that luxury on this because of the amount of touring that I was doing
[A#m] and the amount of travel Mark [C#] was doing as well.
So [Fm] it forced us to become [F] much more diligent and [Fm] focused, I think, in a lot of ways.
To not just come up with individual [A#] ideas, but to make sure to complete at least a skeleton of a song.
So that we'd have [C#] something to present to the rest of the [G#] guys.
Well, I'm all energy, where [G#m] you I see.
[G#] If I were to take their past work, [A#] I would say it's got Fortress and AB3 [G#m] thrown into a blender.
Those two, it kind of dances between the aggressiveness and in-your-face-ness of Fortress.
[C#] But it's also got kind of a dark [Fm] somberness of Alter Bridge 3.
There's one or two [C#] songs that to me [G#] straight up give me a
Like could have been from the [C#] Blackbird era of when I first got involved with the band.
I think it's going to be one of the classic albums in their catalog.
[C#m]
I'm always trying to find new inspiration when I'm writing albums.
And see if I can approach it differently.
With this record, what I did was, instead of just finding drum loops and programming drums to play to,
I would go online and find different kind of loops.
Like I stumbled upon some [G#] old school retro [C#] synth wave kind of stuff.
[C#m] Like old John Carpenter soundtrack kind of loops.
And [C#] just try something different.
And all of a sudden, these ideas [G#] just started popping out.
And I created chord [C#m] progressions over these [C#] kind of droney synths.
And I [C#m] remember calling Miles and saying,
This is kind of what I'm chasing down right now.
And he [D#] really agreed with it.
He's like, I [G#] love that vibe.
I think it's killer.
[C#] And let's just go for it.
Not that this whole record is going to be some synth wave record.
But there's a couple [G#] songs that are influenced by [F] just that [D#] John [E] Carpentery kind of thing.
I just pick up a [C#m] guitar and start playing.
And [A] on this record it was different because [C#m] I went back [F#] to Logic.
It's a recording platform.
[B] And there are so many tools [A] to help inspire you [G#m] in that realm.
I know [F#] Mark talked about he went to YouTube [D] and he's doing loops [E] there.
But I would just [C#] find, maybe program some drum [A] beats.
Maybe I'd start out programming [C#m] some sort of [A] pad synth-wise.
That would just [F#] speak to me and create [C#] a creative spark.
To where then a whole song would blossom from [C#m] there.
So there are a number of different ways to do that.
Sometimes you just hear something in your head.
I'd be on a flight on the road.
I'd hum whatever I heard into my phone and chase down the rest of the idea.
There's a certain amount of pressure in knowing that you want it to be at a certain level.
I [A] try not to think about that because [C#] otherwise you're going to get [C#m] paralysis by analysis.
[C#] I try to have a fresh [Fm] canvas and try not to think about [F] any expectations.
Where it [G#] gets difficult is when you [B] know that you don't have all the boxes [A] checked.
With [G#] Alter Bridge, every [F#] fan has their [C#m] favorite type of song.
We've [B] got the anthems, we've got the [G#m] ballads, we've got the [F#] more aggressive songs, riff-based songs, [D] metal.
So we try to have [D#] all those boxes checked to some degree.
[A] I think fans will dig Walk [E] the Sky.
I [C#] think it's got everything an Alter Bridge fan would like.
It's something [A] different.
[G#] From the feedback I've gotten so far from playing it for friends and family,
it's got its own identity for sure.
It doesn't sound like any particular [C#] Alter Bridge record, which is good.
I think every record should have its [D] own voice and [G#] own personality.
I think this [C#] record has it.
It's got its own dynamics.
[D] It tells [C#] a new story and I can't wait to share it with people.
[C#]
Key:
C#
G#
C#m
A
F#
C#
G#
C#m
Oh, hi. _ _ _ _ _ _
_ _ [G#] _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
_ _ [D#] _ _ [F#] _ _ _ [C#] _
_ [G#] _ _ _ _ _ _
Walk the Sky was a great process in the end.
It was an experiment [F#] relative to how we'd made records in the past.
[Fm] Especially once we started with Blackbird, [C#] it was like assembling sonic puzzles.
[Fm] As we'd get together, Mark and I in particular, and put these [F] sections of songs together.
[Fm] But we didn't have that luxury on this because of the amount of touring that I was doing
[A#m] and the amount of travel Mark [C#] was doing as well.
So [Fm] it forced us to become [F] much more diligent and [Fm] focused, I think, in a lot of ways.
To not just come up with individual [A#] ideas, but to make sure to complete at least a skeleton of a song.
So that we'd have [C#] something to present to the rest of the [G#] guys.
Well, I'm all energy, where [G#m] you I see.
[G#] If I were to take their past work, [A#] I would say it's got Fortress and AB3 [G#m] thrown into a blender.
Those two, it kind of dances between the aggressiveness and in-your-face-ness of Fortress.
[C#] But it's also got kind of a dark [Fm] somberness of Alter Bridge 3.
There's one or two [C#] songs that to me [G#] straight up give me a
Like could have been from the [C#] Blackbird era of when I first got involved with the band.
I think it's going to be one of the classic albums in their catalog.
_ [C#m]
I'm always trying to find new inspiration when I'm writing albums.
And see if I can approach it differently.
With this record, what I did was, instead of just finding drum loops and programming drums to play to,
I would go online and find different kind of loops.
Like I stumbled upon some [G#] old school retro [C#] synth wave kind of stuff.
[C#m] Like old John Carpenter soundtrack kind of loops.
And [C#] _ just try something different.
And all of a sudden, these ideas [G#] just started popping out.
And I created chord [C#m] progressions over these [C#] kind of droney synths.
And I [C#m] remember calling Miles and saying,
This is kind of what I'm chasing down _ right now.
And he [D#] really agreed with it.
He's like, I [G#] love that vibe.
I think it's killer.
[C#] And let's just go for it.
Not that this whole record is going to be some synth wave record.
But there's a couple [G#] songs that are influenced by [F] just that [D#] John [E] Carpentery kind of thing.
I just pick up a [C#m] guitar and start playing.
And [A] on this record it was different because [C#m] I went back [F#] to Logic.
It's a recording platform.
[B] And there are so many tools [A] to help inspire you [G#m] in that realm.
I know [F#] Mark talked about he went to YouTube [D] and he's doing loops [E] there.
But I would just [C#] find, maybe program some drum [A] beats.
Maybe I'd start out programming [C#m] some sort of [A] pad synth-wise.
That would just [F#] speak to me and create [C#] a creative spark.
To where then a whole song would blossom from [C#m] there.
So there are a number of different ways to do that.
Sometimes you just hear something in your head.
I'd be on a flight on the road.
I'd hum whatever I heard into my phone and chase down the rest of the idea.
There's a certain amount of pressure in knowing that you want it to be at a certain level.
I [A] try not to think about that because [C#] otherwise you're going to get [C#m] paralysis by analysis.
[C#] I try to have a fresh [Fm] canvas and try not to think about [F] any expectations.
Where it [G#] gets difficult is when you [B] know that you don't have all the boxes [A] checked.
With [G#] Alter Bridge, every [F#] fan has their [C#m] favorite type of song.
We've [B] got the anthems, we've got the [G#m] ballads, we've got the [F#] more aggressive songs, riff-based songs, [D] metal.
So we try to have [D#] all those boxes checked to some degree.
[A] I think fans will dig Walk [E] the Sky.
I [C#] think it's got everything an Alter Bridge fan would like.
It's something [A] different.
[G#] From the feedback I've gotten so far from playing it for friends and family,
it's got its own identity for sure.
It doesn't sound like any particular [C#] Alter Bridge record, which is good.
I think every record should have its [D] own voice and [G#] own personality.
I think this [C#] record has it.
It's got its own dynamics.
[D] It tells [C#] a new story and I can't wait to share it with people. _
_ _ [C#] _ _ _ _ _ _
_ _ [G#] _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
_ _ [D#] _ _ [F#] _ _ _ [C#] _
_ [G#] _ _ _ _ _ _
Walk the Sky was a great process in the end.
It was an experiment [F#] relative to how we'd made records in the past.
[Fm] Especially once we started with Blackbird, [C#] it was like assembling sonic puzzles.
[Fm] As we'd get together, Mark and I in particular, and put these [F] sections of songs together.
[Fm] But we didn't have that luxury on this because of the amount of touring that I was doing
[A#m] and the amount of travel Mark [C#] was doing as well.
So [Fm] it forced us to become [F] much more diligent and [Fm] focused, I think, in a lot of ways.
To not just come up with individual [A#] ideas, but to make sure to complete at least a skeleton of a song.
So that we'd have [C#] something to present to the rest of the [G#] guys.
Well, I'm all energy, where [G#m] you I see.
[G#] If I were to take their past work, [A#] I would say it's got Fortress and AB3 [G#m] thrown into a blender.
Those two, it kind of dances between the aggressiveness and in-your-face-ness of Fortress.
[C#] But it's also got kind of a dark [Fm] somberness of Alter Bridge 3.
There's one or two [C#] songs that to me [G#] straight up give me a
Like could have been from the [C#] Blackbird era of when I first got involved with the band.
I think it's going to be one of the classic albums in their catalog.
_ [C#m]
I'm always trying to find new inspiration when I'm writing albums.
And see if I can approach it differently.
With this record, what I did was, instead of just finding drum loops and programming drums to play to,
I would go online and find different kind of loops.
Like I stumbled upon some [G#] old school retro [C#] synth wave kind of stuff.
[C#m] Like old John Carpenter soundtrack kind of loops.
And [C#] _ just try something different.
And all of a sudden, these ideas [G#] just started popping out.
And I created chord [C#m] progressions over these [C#] kind of droney synths.
And I [C#m] remember calling Miles and saying,
This is kind of what I'm chasing down _ right now.
And he [D#] really agreed with it.
He's like, I [G#] love that vibe.
I think it's killer.
[C#] And let's just go for it.
Not that this whole record is going to be some synth wave record.
But there's a couple [G#] songs that are influenced by [F] just that [D#] John [E] Carpentery kind of thing.
I just pick up a [C#m] guitar and start playing.
And [A] on this record it was different because [C#m] I went back [F#] to Logic.
It's a recording platform.
[B] And there are so many tools [A] to help inspire you [G#m] in that realm.
I know [F#] Mark talked about he went to YouTube [D] and he's doing loops [E] there.
But I would just [C#] find, maybe program some drum [A] beats.
Maybe I'd start out programming [C#m] some sort of [A] pad synth-wise.
That would just [F#] speak to me and create [C#] a creative spark.
To where then a whole song would blossom from [C#m] there.
So there are a number of different ways to do that.
Sometimes you just hear something in your head.
I'd be on a flight on the road.
I'd hum whatever I heard into my phone and chase down the rest of the idea.
There's a certain amount of pressure in knowing that you want it to be at a certain level.
I [A] try not to think about that because [C#] otherwise you're going to get [C#m] paralysis by analysis.
[C#] I try to have a fresh [Fm] canvas and try not to think about [F] any expectations.
Where it [G#] gets difficult is when you [B] know that you don't have all the boxes [A] checked.
With [G#] Alter Bridge, every [F#] fan has their [C#m] favorite type of song.
We've [B] got the anthems, we've got the [G#m] ballads, we've got the [F#] more aggressive songs, riff-based songs, [D] metal.
So we try to have [D#] all those boxes checked to some degree.
[A] I think fans will dig Walk [E] the Sky.
I [C#] think it's got everything an Alter Bridge fan would like.
It's something [A] different.
[G#] From the feedback I've gotten so far from playing it for friends and family,
it's got its own identity for sure.
It doesn't sound like any particular [C#] Alter Bridge record, which is good.
I think every record should have its [D] own voice and [G#] own personality.
I think this [C#] record has it.
It's got its own dynamics.
[D] It tells [C#] a new story and I can't wait to share it with people. _
_ _ [C#] _ _ _ _ _ _