Chords for Hovedøen Social Club & KORK - hva var livet uten deg

_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [D] _
_ _ _ _ _ [G] _ [C] _ _
_ [G] _ _ _ _ _ _ [Dm] _
_ [G] _ _ [Dm] _ _ [G] _ _ _
_ _ _ _ _ [Dm] _ _ _
_ [G] _ _ _ _ [Em] _ [D#m] _ [Dm] _
_ [C] _ _ _ [Dm] _ _ _ _
_ [G] _ _ _ _ [C] _ [A] _ _
_ _ _ _ _ [D] _ _ _
_ [Dm] _ _ _ _ [G] _ [Dm] _ [C] _
_ [F] _ _ _ _ [Gm] _ _ [Gm] _
_ _ _ _ _ [F] _ _ [A] _
_ [D] _ _ _ _ [G] _ _ _
_ [D] _ _ [C] _ _ [F] _ _ _
_ [Em] _ _ [A] _ _ [C] _ _ _
_ [Am] _ _ _ _ [C] _ _ [G] _
_ [C] _ _ _ _ _ _ _
_ [D] _ _ _ _ [G] _ [G#] _ [Dm] _
_ [C] _ _ _ _ [D] _ _ _
[Dm] _ [G] _ _ _ _ [C] _ _ _
_ _ _ _ _ [Dm] _ _ _
[G] _ _ _ [G] _ _ [C] _ [G#] _ [Dm] _
_ [C] _ _ _ _ [Dm] _ _ _
_ [G] _ _ _ _ [C] _ [D#] _ [E] _
_ [A] _ _ _ _ [D] _ _ _
_ [Dm] _ _ [G] _ _ [C] _ [E] _ _
_ _ _ [F#] _ _ [B] _ [B] Oh
_ _ _ [A#] _ _ [Am] _ [E] _ [Am] _
_ [A] _ _ _ _ _ _ [D] _
_ [B] _ _ _ _ [E] _ _ _
_ [Am] _ _ _ _ [F] _ _ _
[E] _ _ _ _ _ _ [Am] _ _
_ [A] _ _ _ _ [Dm] _ _ [A] _
_ [Dm] _ _ [G] _ _ [C] _ _ _
[Am] _ _ _ _ [Bm] _ _ [D] _ _
[E] _ _ _ _ _ [Dm] _ _ [Am] _
_ _ _ _ _ [E] _ _ _
_ _ _ _ _ [Am] _ _ _
_ _ _ _ _ [E] _ _ _
_ _ _ _ _ [A] _ _ [Am] _
_ _ _ _ _ [E] _ _ _
_ _ _ _ _ [Dm] _ _ [F#] _
_ _ _ [D] _ _ [B] _ _ _
_ [F] _ _ [C] _ _ [Am] _ _ _
_ _ _ [F#] _ _ [E] _ _ _
_ [F] _ _ [E] _ _ [D] _ [Am] _ _
_ _ _ _ _ [E] _ _ _
_ _ _ _ _ [C#] _ [Am] _ _
_ _ _ _ _ [E] _ _ [E] _
_ _ _ [Am] _ _ _ [E] _ _
[Am] _ _ _ _ [B] _ _ _ [E] _
_ [B] _ _ [F#] _ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] _ _
_ _ _ [Em] _ _ [D] _ _ _
[F] _ _ _ [Am] _ _ _ [A] _ _
_ _ _ _ [D] _ _ _ [Dm] _
_ [G] _ _ [C] _ _ _ _ _
_ _ _ [N] _ _ _ _ _
_ _ _ _ _ _ _ _
_ The main door of the Social Club, with the songs we connect with the main door of the Social Club, Sergio _ González.
Usually you are in front of a quartet, now you are in front of a large orchestra. _
How is it?
_ It is an incredible experience.
I'm sorry I have to use old words, but it is a new experience for me.
At the same time I would like to insist that the gang you see here, _ they hide behind cold suits and stiff clothes,
but they are the most humane, humane and sweet gang in the music industry. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ When you hear you sing, Sergio, and at least when you hear you talk, we understand that you are born in Cuba and not in Norway,
but _ what do you think of the songs you sing in the main door?
They are old Norwegian songs.
Is that something you feel good about?
Yes, I have said it before, I think most of them are good songs, and they are melodies that you use all over the world.
So they are always parallels.
_ For me it's a piece of cake.
It's Guantanamera for me.
_ _ _ Okay, Guantanamera. _ _
_ _ _ Sverre Inris Jonner, you are an arranger for the orchestra, a daily _ piano player and a master in the main door of the social club.
_ What is it about these old Norwegian songs that makes them so suitable for the Cuban rhythm?
_ Yes, the first criterion is of course that I want to take on the little perverse challenge of getting them to hear the way I am from Cuba.
But apart from that, I have a completely homogenous theory that goes that the further back we go in time,
the closer the Norwegian and the Cuban popular music is to its common musical origin,
which must be the European tonal system with harmonies and melodies.
You are originally trained as a piano player, _ and when you were done with that education,
you left the piano at home and went to Cuba to study something completely different.
Yes, I found it very difficult to bring it with me on the plane.
The reason was of course that I was a percussionist.
I loved to play percussion, i.e. rhythm instruments,
and had discovered ABC, which of course means Argentina, Brazil and Cuba.
And then it was a coincidence that I went to Cuba first, but that was very okay,
because there I found myself very at home in the rhythmic _ _ conglomerate that boiled and boiled there,
and it was like I took hours in percussion to understand the heart of this music,
because if you don't have that in you, it's very difficult to understand what's going on.
Did you take those rhythms you learned there and transfer them directly to the piano?
Yes, not quite directly, maybe, but having that rhythmic strength there and being able to play these rhythms,
then you get a freedom on the piano, which I can then also use as an arranger.
So of course it was a good balance to have when you were looking for something as