Chords for David Sylvian - Interview pt.2
Tempo:
99.05 bpm
Chords used:
F
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Do you feel very much that other people regard you as a bit serious?
It may be it may be a reasonable criticism, you know, I do take the work very seriously
Maybe it's because I mean I think there's two sides of it
I do take the work very seriously, but on the other hand
I think there's too much trivia in the world and people
Far easily too easily distracted by the trivia than then anything of a serious nature
I mean the balance of entertainment and serious art is disease, you know
He's his way out of balance.
It's falls totally on the side of entertainment people are constantly looking for
Escapism instead of looking for things that will enrich their lives in some way and that sounds like it's going to be something very heavy
Too meaningful something that's going to be a burden to you to sit through and watch or listen to or whatever
But it isn't it's a if you can just give your concentration to one piece of music one painting one film
You know one point in time
It can be uplifted and rewarded for you know, one one
One experience of that nature can last you for a year, you know
I mean an experience in your life if you go to a certain place or you and you have a certain experience that you find
rewarding it can last your lifetime as a source of
comfort and
And the arts of the same can have the same effect on a person's life.
I mean the pop world isn't exactly
Just overloaded with serious.
No artists.
Well, yes in a way I'm working in a in an area that
Probably, you know
Is the wrong choice to work in but I was brought up with pop music and I enjoyed pop music and I can see that
there is a
It's possible to put a value in pop music and reach a lot a lot more people than you [F] then you would if you if you
made
Less commercial music and reached and you were like preaching to the converted
I mean I want to reach as many people as possible without
compromising in any way in the hope that
Say, you know if a hundred people bought my record one person may get something out of it of value
You know, that's it.
You know, that's an ideal of mine
Of course it has to do with how successful I am in my interpretations of you know in recording the pieces
Which I'm never really sure about just how successful I am
you also have a
fascination it seems
[E] To finish a song very abruptly very suddenly and very [N] where you don't expect it to fit to just stop
There's a few songs like that on this new album
As a listener you always almost get surprised
Is it finished or was it the machine that I
Think it started with that when I was working with
John punter in
Japan's days
John had this thing about extremely slow fades, you know, they would go forever
You know and I used to enjoy that I used to you know
Because it kind of if the if the listeners absorbed in a piece of music
They you know the slow fading out sort of lets them out gently from from from the experience
But as time's gone on I found fading music such an a strange thing to do and I've
With brilliant trees and gone to earth.
I avoided doing that pieces would end
They had a definite beginning and end except for some of the instrumental pieces
and it's just an extension of that really and
I think that when I'm work, I mean I'm working with very simple forms of music here
I mean forms of music that everybody understands and
You can take far more liberties with this kind of music then you could if you're doing something more abstract
Because people still understand I mean like ghosts for example, it was successful.
I think because it was a
Form that everybody understood it was a ballad, you know
First chorus verse course everybody understood it
but so we took it to pieces in the arrangement, but it was still recognizably a ballad and
Therefore it appeal still appeal to a lot of people and I like that
That's why I like to work within quite a strict form.
Is that your biggest commercial success?
Ghosts is yes as a song as a yes as a single.
Yeah, it's something
I mean, I've continued to work that way still ballads.
I mean, I'm I love writing ballads and
I still find it gives me a lot of freedom to play with the arrangements and still the pieces music remain
accessible to a lot of people
It may be it may be a reasonable criticism, you know, I do take the work very seriously
Maybe it's because I mean I think there's two sides of it
I do take the work very seriously, but on the other hand
I think there's too much trivia in the world and people
Far easily too easily distracted by the trivia than then anything of a serious nature
I mean the balance of entertainment and serious art is disease, you know
He's his way out of balance.
It's falls totally on the side of entertainment people are constantly looking for
Escapism instead of looking for things that will enrich their lives in some way and that sounds like it's going to be something very heavy
Too meaningful something that's going to be a burden to you to sit through and watch or listen to or whatever
But it isn't it's a if you can just give your concentration to one piece of music one painting one film
You know one point in time
It can be uplifted and rewarded for you know, one one
One experience of that nature can last you for a year, you know
I mean an experience in your life if you go to a certain place or you and you have a certain experience that you find
rewarding it can last your lifetime as a source of
comfort and
And the arts of the same can have the same effect on a person's life.
I mean the pop world isn't exactly
Just overloaded with serious.
No artists.
Well, yes in a way I'm working in a in an area that
Probably, you know
Is the wrong choice to work in but I was brought up with pop music and I enjoyed pop music and I can see that
there is a
It's possible to put a value in pop music and reach a lot a lot more people than you [F] then you would if you if you
made
Less commercial music and reached and you were like preaching to the converted
I mean I want to reach as many people as possible without
compromising in any way in the hope that
Say, you know if a hundred people bought my record one person may get something out of it of value
You know, that's it.
You know, that's an ideal of mine
Of course it has to do with how successful I am in my interpretations of you know in recording the pieces
Which I'm never really sure about just how successful I am
you also have a
fascination it seems
[E] To finish a song very abruptly very suddenly and very [N] where you don't expect it to fit to just stop
There's a few songs like that on this new album
As a listener you always almost get surprised
Is it finished or was it the machine that I
Think it started with that when I was working with
John punter in
Japan's days
John had this thing about extremely slow fades, you know, they would go forever
You know and I used to enjoy that I used to you know
Because it kind of if the if the listeners absorbed in a piece of music
They you know the slow fading out sort of lets them out gently from from from the experience
But as time's gone on I found fading music such an a strange thing to do and I've
With brilliant trees and gone to earth.
I avoided doing that pieces would end
They had a definite beginning and end except for some of the instrumental pieces
and it's just an extension of that really and
I think that when I'm work, I mean I'm working with very simple forms of music here
I mean forms of music that everybody understands and
You can take far more liberties with this kind of music then you could if you're doing something more abstract
Because people still understand I mean like ghosts for example, it was successful.
I think because it was a
Form that everybody understood it was a ballad, you know
First chorus verse course everybody understood it
but so we took it to pieces in the arrangement, but it was still recognizably a ballad and
Therefore it appeal still appeal to a lot of people and I like that
That's why I like to work within quite a strict form.
Is that your biggest commercial success?
Ghosts is yes as a song as a yes as a single.
Yeah, it's something
I mean, I've continued to work that way still ballads.
I mean, I'm I love writing ballads and
I still find it gives me a lot of freedom to play with the arrangements and still the pieces music remain
accessible to a lot of people
Key:
F
E
F
E
F
E
F
E
Do you feel very much that other people regard you as a bit serious?
_ _ _ It may be it may be a _ _ _ _ _ reasonable criticism, you know, I do take the work very seriously
_ _ Maybe it's because I mean I think there's two sides of it
I do take the work very seriously, but on the other hand
I think there's too much trivia in the world and people
Far easily too easily distracted by the trivia than then anything of a serious nature
I mean the balance of entertainment and serious art is disease, you know
_ He's his way out of balance.
It's falls totally on the side of entertainment people are constantly looking for
Escapism instead of looking for things that will enrich their lives in some way and that sounds like it's going to be something very heavy
Too meaningful something that's going to be a burden to you to sit through and watch or listen to or whatever
But it isn't it's a if you can just give your concentration to one piece of music one painting one film
You know one point in time
It can be uplifted and rewarded for you know, one one
_ _ One experience of that nature can last you for a year, you know
I mean an experience in your life if you go to a certain place or you and you have a certain experience that you find
rewarding it can last your lifetime as a source of
_ _ comfort and
And the arts of the same can have the same effect on a person's life.
I mean the pop world isn't exactly
Just overloaded with serious.
No artists.
Well, yes in a way I'm working in a in an area that
Probably, you know
Is the wrong choice to work in but I was brought up with pop music and I enjoyed pop music and I can see that
there is a _
_ _ It's possible to put a value in pop music and reach a lot a lot more people than you [F] then you would if you if you
made
Less commercial music and reached and you were like preaching to the converted
I mean I want to reach as many people as possible without
compromising in any way in the hope that
_ Say, you know if a hundred people bought my record one person may get something out of it of value
You know, that's it.
You know, that's an ideal of mine
_ _ Of course it has to do with how successful I am in my interpretations of you know in recording the pieces
Which I'm never really sure about just how successful I am
you also have a
fascination it seems
_ [E] To finish a song very abruptly very suddenly and very [N] where you don't expect it to fit to just stop
_ _ _ There's a few songs like that on this new album
_ As a listener you always almost get surprised
Is it finished or was it the machine that I
_ Think it started with that when I was working with
John punter in
Japan's days
_ John had this thing about extremely slow fades, you know, they would go forever
You know and I used to enjoy that I used to you know
Because it kind of if the if the listeners absorbed in a piece of music
_ _ _ They you know the slow fading out sort of lets them out gently from from from the experience
But as time's gone on I found fading music such an a strange thing to do and I've
With brilliant trees and gone to earth.
I avoided doing that pieces would end
They had a definite beginning and end except for some of the instrumental pieces
_ and it's just an extension of that really and
_ I think that when I'm work, I mean I'm working with very simple forms of music here
I mean forms of music that everybody understands and
You can take far more liberties with this kind of music then you could if you're doing something more abstract
Because people still understand I mean like ghosts for example, it was successful.
I think because it was a _
_ Form that everybody understood it was a ballad, you know
First chorus verse course everybody understood it
but so we took it to pieces in the arrangement, but it was still recognizably a ballad and
Therefore it appeal still appeal to a lot of people and I like that
That's why I like to work within quite a strict form.
Is that your biggest commercial success?
Ghosts is yes as a song as a yes as a single.
Yeah, it's something
I mean, I've continued to work that way still ballads.
I mean, I'm I love writing ballads and _
_ _ I still find it gives me a lot of freedom to play with the arrangements and still the pieces music remain
accessible to a lot of people
_ _ _ It may be it may be a _ _ _ _ _ reasonable criticism, you know, I do take the work very seriously
_ _ Maybe it's because I mean I think there's two sides of it
I do take the work very seriously, but on the other hand
I think there's too much trivia in the world and people
Far easily too easily distracted by the trivia than then anything of a serious nature
I mean the balance of entertainment and serious art is disease, you know
_ He's his way out of balance.
It's falls totally on the side of entertainment people are constantly looking for
Escapism instead of looking for things that will enrich their lives in some way and that sounds like it's going to be something very heavy
Too meaningful something that's going to be a burden to you to sit through and watch or listen to or whatever
But it isn't it's a if you can just give your concentration to one piece of music one painting one film
You know one point in time
It can be uplifted and rewarded for you know, one one
_ _ One experience of that nature can last you for a year, you know
I mean an experience in your life if you go to a certain place or you and you have a certain experience that you find
rewarding it can last your lifetime as a source of
_ _ comfort and
And the arts of the same can have the same effect on a person's life.
I mean the pop world isn't exactly
Just overloaded with serious.
No artists.
Well, yes in a way I'm working in a in an area that
Probably, you know
Is the wrong choice to work in but I was brought up with pop music and I enjoyed pop music and I can see that
there is a _
_ _ It's possible to put a value in pop music and reach a lot a lot more people than you [F] then you would if you if you
made
Less commercial music and reached and you were like preaching to the converted
I mean I want to reach as many people as possible without
compromising in any way in the hope that
_ Say, you know if a hundred people bought my record one person may get something out of it of value
You know, that's it.
You know, that's an ideal of mine
_ _ Of course it has to do with how successful I am in my interpretations of you know in recording the pieces
Which I'm never really sure about just how successful I am
you also have a
fascination it seems
_ [E] To finish a song very abruptly very suddenly and very [N] where you don't expect it to fit to just stop
_ _ _ There's a few songs like that on this new album
_ As a listener you always almost get surprised
Is it finished or was it the machine that I
_ Think it started with that when I was working with
John punter in
Japan's days
_ John had this thing about extremely slow fades, you know, they would go forever
You know and I used to enjoy that I used to you know
Because it kind of if the if the listeners absorbed in a piece of music
_ _ _ They you know the slow fading out sort of lets them out gently from from from the experience
But as time's gone on I found fading music such an a strange thing to do and I've
With brilliant trees and gone to earth.
I avoided doing that pieces would end
They had a definite beginning and end except for some of the instrumental pieces
_ and it's just an extension of that really and
_ I think that when I'm work, I mean I'm working with very simple forms of music here
I mean forms of music that everybody understands and
You can take far more liberties with this kind of music then you could if you're doing something more abstract
Because people still understand I mean like ghosts for example, it was successful.
I think because it was a _
_ Form that everybody understood it was a ballad, you know
First chorus verse course everybody understood it
but so we took it to pieces in the arrangement, but it was still recognizably a ballad and
Therefore it appeal still appeal to a lot of people and I like that
That's why I like to work within quite a strict form.
Is that your biggest commercial success?
Ghosts is yes as a song as a yes as a single.
Yeah, it's something
I mean, I've continued to work that way still ballads.
I mean, I'm I love writing ballads and _
_ _ I still find it gives me a lot of freedom to play with the arrangements and still the pieces music remain
accessible to a lot of people