Chords for How to play Yes' Owner of a Lonely Heart Solo
Tempo:
60.15 bpm
Chords used:
E
C
Am
A
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] [G]
[A]
[E] [A] [G]
[E]
[D] [C] That's one of the great in-your-face guitar solos of all time as far as I'm concerned.
Oh, thank you.
Well, I enjoy playing that one.
It was also the [Bb] first time, actually the second time that I utilized the harmonizer in a different
way than just a chorus.
And on this one, I use the fifth.
[E] So, the solo starts just an A to G, and with a harmonizer, it adds an E to D on it, which
gives it an in-your-face kind of feel.
[C] And then the next part, which once again brings up the thing of having some kind of understanding
of harmony, because if you're using a harmonizer and you're using double stops and triads and
whatever, it's good to understand what the development of that sound by way of the harmonizer
is going to mean.
For example, [E] on that, you would [C] get
And what that does, that's really without the harmonizers
It's a real simple, [Bb] normal thing, but what it does, what makes it really sound unique
is here we have just a [D] normal D major triad with a D, F sharp, but it becomes a D major
seventh, because you have the D and the F sharp becoming an A, C sharp, so you get D,
F sharp, A, C sharp, giving you the D major seventh.
And then [C] to C major seventh.
[Gb] So, it's a very useful tool, and used as an effect.
I wouldn't recommend keeping it on all the time.
You might have a problem.
Very careful.
Yeah, absolutely.
[N] That thing you do behind the nut string pole?
Yeah, I find that that's kind of a useful thing, because if you're pulling up on your whammy bar,
if I was to go
Let me just turn this off a bit.
[A] It has a different sound to it.
And with a fifth, it has a real kind of
Same [E] with a lead.
[Gm] So, it's a really kind of
So, you're actually playing [C] a what?
Playing a G string and just hitting up on
That's it, huh?
Yeah.
[Am] [F] And it has
there's some really useful [E] applications as well.
For example, if you're [Cm] playing
Whoops, wrong string.
[Bb] [Am] So, you're getting the
Right.
Isolating that one string.
[E] Exactly.
So, it's a very useful thing.
But some guitars you can't do it with, because you've got the clamped down nut.
Right, you bet.
So, I kind of use that just for this guitar, because I don't use a tremolo on this one.
So, that solo is basically mainly A minor pentatonics, right?
Basically, A minor pentatonic with a fifth on top of it.
And it really just puts it over the edge.
Yeah, and once again, on the sound [D] engineering side, it's panned wildly from left and right.
And as it's being panned, the reverb's doing this.
So, you've got this left to right thing, plus a reverb giving you the back and forward thing.
So, it kind of goes a bit crazy and provides for a pretty [E] shocking kind of introduction into the song.
And then you end it with a speedy thing and a speedy little lick on top.
Right.
Where are we here now?
Yeah, once again, just really basically the pentatonic with a couple of things thrown in.
[B] And with
[A]
[E] [A] [G]
[E]
[D] [C] That's one of the great in-your-face guitar solos of all time as far as I'm concerned.
Oh, thank you.
Well, I enjoy playing that one.
It was also the [Bb] first time, actually the second time that I utilized the harmonizer in a different
way than just a chorus.
And on this one, I use the fifth.
[E] So, the solo starts just an A to G, and with a harmonizer, it adds an E to D on it, which
gives it an in-your-face kind of feel.
[C] And then the next part, which once again brings up the thing of having some kind of understanding
of harmony, because if you're using a harmonizer and you're using double stops and triads and
whatever, it's good to understand what the development of that sound by way of the harmonizer
is going to mean.
For example, [E] on that, you would [C] get
And what that does, that's really without the harmonizers
It's a real simple, [Bb] normal thing, but what it does, what makes it really sound unique
is here we have just a [D] normal D major triad with a D, F sharp, but it becomes a D major
seventh, because you have the D and the F sharp becoming an A, C sharp, so you get D,
F sharp, A, C sharp, giving you the D major seventh.
And then [C] to C major seventh.
[Gb] So, it's a very useful tool, and used as an effect.
I wouldn't recommend keeping it on all the time.
You might have a problem.
Very careful.
Yeah, absolutely.
[N] That thing you do behind the nut string pole?
Yeah, I find that that's kind of a useful thing, because if you're pulling up on your whammy bar,
if I was to go
Let me just turn this off a bit.
[A] It has a different sound to it.
And with a fifth, it has a real kind of
Same [E] with a lead.
[Gm] So, it's a really kind of
So, you're actually playing [C] a what?
Playing a G string and just hitting up on
That's it, huh?
Yeah.
[Am] [F] And it has
there's some really useful [E] applications as well.
For example, if you're [Cm] playing
Whoops, wrong string.
[Bb] [Am] So, you're getting the
Right.
Isolating that one string.
[E] Exactly.
So, it's a very useful thing.
But some guitars you can't do it with, because you've got the clamped down nut.
Right, you bet.
So, I kind of use that just for this guitar, because I don't use a tremolo on this one.
So, that solo is basically mainly A minor pentatonics, right?
Basically, A minor pentatonic with a fifth on top of it.
And it really just puts it over the edge.
Yeah, and once again, on the sound [D] engineering side, it's panned wildly from left and right.
And as it's being panned, the reverb's doing this.
So, you've got this left to right thing, plus a reverb giving you the back and forward thing.
So, it kind of goes a bit crazy and provides for a pretty [E] shocking kind of introduction into the song.
And then you end it with a speedy thing and a speedy little lick on top.
Right.
Where are we here now?
Yeah, once again, just really basically the pentatonic with a couple of things thrown in.
[B] And with
Key:
E
C
Am
A
D
E
C
Am
_ _ _ _ [Am] _ _ [G] _ _
_ _ _ [A] _ _ _ _ _
_ _ [E] _ _ [A] _ _ [G] _ _
_ [E] _ _ _ _ _ _ _
_ [D] _ [C] That's one of the great in-your-face guitar solos of all time as far as I'm concerned.
Oh, thank you.
Well, I enjoy playing that one.
It was also the [Bb] first time, actually the second time that I utilized the harmonizer in a different
way than just a chorus.
And on this one, I use the fifth.
[E] So, the solo starts _ just an A to G, and with a harmonizer, it adds an E to D on it, which
gives it an in-your-face kind of feel.
_ [C] And then the next part, which once again brings up the thing of having some kind of understanding
of harmony, because if you're using a harmonizer and you're using double stops and triads and
whatever, it's good to understand what the development of that sound by way of the harmonizer
is going to mean.
For example, [E] on that, you would [C] get_
And what that does, that's really without the harmonizers_
_ It's a real simple, [Bb] normal thing, but what it does, what makes it really sound unique
is here we have just a [D] normal D major triad with a D, F sharp, but it becomes a D major
seventh, because you have the D and the F sharp becoming an A, C sharp, so you get D,
F sharp, A, C sharp, giving you the D major seventh.
And then [C] to C major seventh.
_ [Gb] So, it's a very useful tool, and used as an effect.
I wouldn't recommend keeping it on all the time.
You might have a problem.
Very careful.
Yeah, absolutely.
[N] That thing you do behind the nut string pole?
Yeah, I find that that's kind of a useful thing, because if you're pulling up on your whammy bar,
if I was to go_
Let me just turn this off a bit.
[A] _ It has a different sound to it.
And with a fifth, it has a real kind of_
Same [E] with a lead. _ _ _
_ _ [Gm] _ So, it's a really kind of_
So, you're actually playing [C] a what?
Playing a G string and just hitting up on_
That's it, huh?
Yeah.
[Am] _ [F] And it has_
there's some really useful [E] applications as well.
For example, if you're [Cm] playing_
_ Whoops, wrong string.
_ [Bb] _ _ [Am] So, you're getting the_
Right.
Isolating that one string.
[E] Exactly.
So, it's a very useful thing.
But some guitars you can't do it with, because you've got the clamped down nut.
Right, you bet.
So, I kind of use that just for this guitar, because I don't use a tremolo on this one.
So, that solo is basically mainly A minor pentatonics, right?
Basically, A minor pentatonic with a fifth on top of it.
And it really just puts it over the edge.
Yeah, and once again, on the sound [D] engineering side, it's panned wildly from left and right.
And as it's being panned, the reverb's doing this.
So, you've got this left to right thing, plus a reverb giving you the back and forward thing.
So, it kind of goes a bit crazy and provides for a pretty [E] shocking kind of introduction into the song.
And then you end it with a speedy thing and a speedy little lick on top.
Right.
Where are we here now?
Yeah, once again, just really basically the pentatonic with a couple of things thrown in.
[B] _ _ And with
_ _ _ [A] _ _ _ _ _
_ _ [E] _ _ [A] _ _ [G] _ _
_ [E] _ _ _ _ _ _ _
_ [D] _ [C] That's one of the great in-your-face guitar solos of all time as far as I'm concerned.
Oh, thank you.
Well, I enjoy playing that one.
It was also the [Bb] first time, actually the second time that I utilized the harmonizer in a different
way than just a chorus.
And on this one, I use the fifth.
[E] So, the solo starts _ just an A to G, and with a harmonizer, it adds an E to D on it, which
gives it an in-your-face kind of feel.
_ [C] And then the next part, which once again brings up the thing of having some kind of understanding
of harmony, because if you're using a harmonizer and you're using double stops and triads and
whatever, it's good to understand what the development of that sound by way of the harmonizer
is going to mean.
For example, [E] on that, you would [C] get_
And what that does, that's really without the harmonizers_
_ It's a real simple, [Bb] normal thing, but what it does, what makes it really sound unique
is here we have just a [D] normal D major triad with a D, F sharp, but it becomes a D major
seventh, because you have the D and the F sharp becoming an A, C sharp, so you get D,
F sharp, A, C sharp, giving you the D major seventh.
And then [C] to C major seventh.
_ [Gb] So, it's a very useful tool, and used as an effect.
I wouldn't recommend keeping it on all the time.
You might have a problem.
Very careful.
Yeah, absolutely.
[N] That thing you do behind the nut string pole?
Yeah, I find that that's kind of a useful thing, because if you're pulling up on your whammy bar,
if I was to go_
Let me just turn this off a bit.
[A] _ It has a different sound to it.
And with a fifth, it has a real kind of_
Same [E] with a lead. _ _ _
_ _ [Gm] _ So, it's a really kind of_
So, you're actually playing [C] a what?
Playing a G string and just hitting up on_
That's it, huh?
Yeah.
[Am] _ [F] And it has_
there's some really useful [E] applications as well.
For example, if you're [Cm] playing_
_ Whoops, wrong string.
_ [Bb] _ _ [Am] So, you're getting the_
Right.
Isolating that one string.
[E] Exactly.
So, it's a very useful thing.
But some guitars you can't do it with, because you've got the clamped down nut.
Right, you bet.
So, I kind of use that just for this guitar, because I don't use a tremolo on this one.
So, that solo is basically mainly A minor pentatonics, right?
Basically, A minor pentatonic with a fifth on top of it.
And it really just puts it over the edge.
Yeah, and once again, on the sound [D] engineering side, it's panned wildly from left and right.
And as it's being panned, the reverb's doing this.
So, you've got this left to right thing, plus a reverb giving you the back and forward thing.
So, it kind of goes a bit crazy and provides for a pretty [E] shocking kind of introduction into the song.
And then you end it with a speedy thing and a speedy little lick on top.
Right.
Where are we here now?
Yeah, once again, just really basically the pentatonic with a couple of things thrown in.
[B] _ _ And with
Facts about this song