Chords for David Gilmour BBC Interview How he gets his sound
Tempo:
60.125 bpm
Chords used:
G
A
E
D
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] The Floyd sound, which sort of created a whole universe for people to sort [N] of inhabit.
And that in its own way just felt like, and still feels like, it's never been quite, no one's ever quite done that before in that way.
It's a very hard thing to puzzle out myself, how these things happen, what combination of personalities and sounds that people, taste,
for individuals, taste comes together to make something that has got space and atmosphere and theatre and God knows what else to it.
Something magic comes out of bending little bits of wire.
[C] How do you do, is there [G] any, the bending, how do you bend?
Push.
[F#] [G] The wire gets tighter, the pitch goes up.
[G] [Em]
You do it absolutely all the time, a little bit, so that every note, [D#] you know, is
[G] just the tiniest little things, which is what makes the guitar so personal.
You can [D] add a hundred different tiny inflections to what you're doing all the time.
And that, I guess, is what gives people their individual tones.
[Bm] [A]
[G] [E] [Bm]
[A]
[G] [Em] [Bm]
[E] [A]
What was it like to play the solo for the first time?
[G] [E] [Bm] The solo, of course, became a kind of fetish, didn't it, in the 60s?
Yeah.
Yes, Pink [A] Floyd and many, many other people did [G] solo on for hours.
[Em] [Bm] It's a lot of fun to do, and I can't quite imagine being in the audience and listening to [A] it.
[G] [E] [Bm]
[A]
[G] [E] [Bm]
[A]
[G] The [E] sound [B]
[Bm] [A]
[G] of [F#] [E]
[Bm] a guitar is a sound that is not a sound that is made by a human being.
It is a sound that is made by a human being.
[G] Oh, [N]
[B] that one's hurt.
It's funny, because it looks so primitive, doesn't it, the whole thing?
It is.
[A] A man in his box.
Trying to create [C#] distortion, which gives an impression of real loudness, is very hard to do.
So you can't do it unless you use a little box, which has got its own whole circuitry, just designed to give [E] you distortion.
And it never sounds quite right, doing this pathetic little distortion in a little room.
It's not the same as sort of feeling it when you're on a stage and you can sort of lean back against the sound.
You feel like it's so powerful you can sort of lean against it.
But it gives [D] a sort of impression.
[A] And what about that sort of sense of the guitar is not just an instrument, but is sort of part of your personality?
I mean, is it
there is something about it, because it is something you hold close to you.
It's a very physical relationship, isn't it, that you have with that instrument?
Yeah, it is.
Yeah, it is the way that some of us express ourselves best.
[D] [A] [D] [D] [E] [D] [G] [C]
[G] [Em] [D] [G]
[D] [G] [D]
And that in its own way just felt like, and still feels like, it's never been quite, no one's ever quite done that before in that way.
It's a very hard thing to puzzle out myself, how these things happen, what combination of personalities and sounds that people, taste,
for individuals, taste comes together to make something that has got space and atmosphere and theatre and God knows what else to it.
Something magic comes out of bending little bits of wire.
[C] How do you do, is there [G] any, the bending, how do you bend?
Push.
[F#] [G] The wire gets tighter, the pitch goes up.
[G] [Em]
You do it absolutely all the time, a little bit, so that every note, [D#] you know, is
[G] just the tiniest little things, which is what makes the guitar so personal.
You can [D] add a hundred different tiny inflections to what you're doing all the time.
And that, I guess, is what gives people their individual tones.
[Bm] [A]
[G] [E] [Bm]
[A]
[G] [Em] [Bm]
[E] [A]
What was it like to play the solo for the first time?
[G] [E] [Bm] The solo, of course, became a kind of fetish, didn't it, in the 60s?
Yeah.
Yes, Pink [A] Floyd and many, many other people did [G] solo on for hours.
[Em] [Bm] It's a lot of fun to do, and I can't quite imagine being in the audience and listening to [A] it.
[G] [E] [Bm]
[A]
[G] [E] [Bm]
[A]
[G] The [E] sound [B]
[Bm] [A]
[G] of [F#] [E]
[Bm] a guitar is a sound that is not a sound that is made by a human being.
It is a sound that is made by a human being.
[G] Oh, [N]
[B] that one's hurt.
It's funny, because it looks so primitive, doesn't it, the whole thing?
It is.
[A] A man in his box.
Trying to create [C#] distortion, which gives an impression of real loudness, is very hard to do.
So you can't do it unless you use a little box, which has got its own whole circuitry, just designed to give [E] you distortion.
And it never sounds quite right, doing this pathetic little distortion in a little room.
It's not the same as sort of feeling it when you're on a stage and you can sort of lean back against the sound.
You feel like it's so powerful you can sort of lean against it.
But it gives [D] a sort of impression.
[A] And what about that sort of sense of the guitar is not just an instrument, but is sort of part of your personality?
I mean, is it
there is something about it, because it is something you hold close to you.
It's a very physical relationship, isn't it, that you have with that instrument?
Yeah, it is.
Yeah, it is the way that some of us express ourselves best.
[D] [A] [D] [D] [E] [D] [G] [C]
[G] [Em] [D] [G]
[D] [G] [D]
Key:
G
A
E
D
Bm
G
A
E
[E] _ _ The Floyd sound, _ which sort of created a whole universe for people to sort [N] of inhabit.
And that in its own way just felt like, and still feels like, it's never been quite, no one's ever quite done that before in that way.
It's a very hard thing to puzzle out myself, how these things happen, what combination of personalities and sounds that people, taste,
for individuals, taste comes together to make something that has got space and atmosphere and theatre and God knows what else to it.
Something magic comes out of bending little bits of wire.
[C] How do you do, is there [G] any, the bending, how do you bend?
Push.
_ _ [F#] [G] The wire gets tighter, the pitch goes up.
_ [G] _ _ [Em] _ _
You do it absolutely all the time, a little bit, so that every note, [D#] you know, is _
[G] just the tiniest little things, which is what makes the guitar so personal.
You can [D] add a hundred different tiny inflections to what you're doing all the time.
And that, I guess, is what gives people their individual tones.
_ [Bm] _ _ _ _ [A] _ _
_ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ _ _ _ _ [A] _ _
_ _ [G] _ _ [Em] _ _ [Bm] _ _
_ _ _ _ _ _ [E] _ [A]
What was it like to play the solo for the first time?
_ [G] _ _ [E] [Bm] The solo, of course, became a kind of fetish, didn't it, in the 60s?
_ Yeah.
Yes, Pink [A] Floyd and many, many other people did [G] solo on for hours.
_ [Em] _ [Bm] It's a lot of fun to do, and I can't quite imagine being in the audience and listening to [A] it. _
_ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ _ _ _ _ [A] _ _
_ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ _ _ _ _ [A] _ _
_ _ [G] The [E] sound _ [B] _ _
_ _ _ _ [Bm] _ _ [A] _ _
_ [G] of _ [F#] _ [E] _ _
[Bm] a guitar is a sound that is not a sound that is made by a human being.
It is _ a sound that is made by a human being. _
_ _ [G] Oh, _ _ _ [N] _
_ _ _ _ _ _ _ _
[B] _ that one's hurt.
It's funny, because it looks so primitive, doesn't it, the whole thing?
It is.
[A] A man in his box.
Trying to create [C#] distortion, which gives an impression of real loudness, is very hard to do.
So you can't do it unless you use a little box, which has got its own whole circuitry, just designed to give [E] you distortion.
And it never sounds quite right, doing this pathetic little distortion in a little room.
It's not the same as sort of feeling it when you're on a stage and you can sort of lean back against the sound.
You feel like it's so powerful you can sort of lean against it.
But it gives [D] a sort of impression.
[A] _ And what about that sort of sense of the guitar is not just an instrument, but is sort of part of your personality?
I mean, is it_
there is something about it, because it is something you hold close to you.
It's a very physical relationship, isn't it, that you have with that instrument?
Yeah, it is.
Yeah, it is the way that some of us express ourselves best.
_ _ _ [D] _ _ _ [A] _ _ [D] _ [D] _ _ [E] _ [D] _ [G] _ [C] _
[G] _ _ _ _ [Em] _ _ [D] _ [G] _
_ _ _ _ [D] _ [G] _ [D] _ _
And that in its own way just felt like, and still feels like, it's never been quite, no one's ever quite done that before in that way.
It's a very hard thing to puzzle out myself, how these things happen, what combination of personalities and sounds that people, taste,
for individuals, taste comes together to make something that has got space and atmosphere and theatre and God knows what else to it.
Something magic comes out of bending little bits of wire.
[C] How do you do, is there [G] any, the bending, how do you bend?
Push.
_ _ [F#] [G] The wire gets tighter, the pitch goes up.
_ [G] _ _ [Em] _ _
You do it absolutely all the time, a little bit, so that every note, [D#] you know, is _
[G] just the tiniest little things, which is what makes the guitar so personal.
You can [D] add a hundred different tiny inflections to what you're doing all the time.
And that, I guess, is what gives people their individual tones.
_ [Bm] _ _ _ _ [A] _ _
_ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ _ _ _ _ [A] _ _
_ _ [G] _ _ [Em] _ _ [Bm] _ _
_ _ _ _ _ _ [E] _ [A]
What was it like to play the solo for the first time?
_ [G] _ _ [E] [Bm] The solo, of course, became a kind of fetish, didn't it, in the 60s?
_ Yeah.
Yes, Pink [A] Floyd and many, many other people did [G] solo on for hours.
_ [Em] _ [Bm] It's a lot of fun to do, and I can't quite imagine being in the audience and listening to [A] it. _
_ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ _ _ _ _ [A] _ _
_ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ _ _ _ _ [A] _ _
_ _ [G] The [E] sound _ [B] _ _
_ _ _ _ [Bm] _ _ [A] _ _
_ [G] of _ [F#] _ [E] _ _
[Bm] a guitar is a sound that is not a sound that is made by a human being.
It is _ a sound that is made by a human being. _
_ _ [G] Oh, _ _ _ [N] _
_ _ _ _ _ _ _ _
[B] _ that one's hurt.
It's funny, because it looks so primitive, doesn't it, the whole thing?
It is.
[A] A man in his box.
Trying to create [C#] distortion, which gives an impression of real loudness, is very hard to do.
So you can't do it unless you use a little box, which has got its own whole circuitry, just designed to give [E] you distortion.
And it never sounds quite right, doing this pathetic little distortion in a little room.
It's not the same as sort of feeling it when you're on a stage and you can sort of lean back against the sound.
You feel like it's so powerful you can sort of lean against it.
But it gives [D] a sort of impression.
[A] _ And what about that sort of sense of the guitar is not just an instrument, but is sort of part of your personality?
I mean, is it_
there is something about it, because it is something you hold close to you.
It's a very physical relationship, isn't it, that you have with that instrument?
Yeah, it is.
Yeah, it is the way that some of us express ourselves best.
_ _ _ [D] _ _ _ [A] _ _ [D] _ [D] _ _ [E] _ [D] _ [G] _ [C] _
[G] _ _ _ _ [Em] _ _ [D] _ [G] _
_ _ _ _ [D] _ [G] _ [D] _ _