Chords for Jimmy Webb on Writing His Most Famous Song
Tempo:
132 bpm
Chords used:
C
G
Bb
Dm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Al and Glenn cut virtually in a hyperbaric chamber.
They were sealed off.
Okay.
For [B] years, I was never even [G] invited to one of [B] Glenn's sessions.
[D] When we did Wichita Lineman, he was over at my house one day, [Am] and I said,
you know what, Glenn, I got this old church organ that I just play it when I'm [C] kind of in the mood for a hymn or two.
Okay.
And I said, it's got some really interesting synth stuff on it.
Now, this is pre-synthesizer, but [D] you'd get yourself like a $5,000 Gould Branson electronic church organ.
It had [Bb] all these bells and whistles on it.
Yeah.
It had sustain.
It had a [D] repetitive
It would do that.
[Ab] And there was this one repetitive thing, and I said, at the very [B] end of [G]
the record, [D]
[C] [G] [Bb]
[D] [E]
[Bb]
[C]
[Dm] [Bb] [C]
between these two chords,
[Bb]
[C] and Al's just going like
[F]
He's just doing something very [C] simple.
Yeah.
So I was like, I [Cm] went over and I turned on this ring-a-ding thing, and I held down two notes here, and it went
[G] He said, wow, he said, that's cool.
I said, yeah, it sounds like a satellite or a
Yeah, he said, that's cool.
He said, let's put it on the record.
You know?
I said, what?
When?
He said, now.
And I said, Glenn, that thing weighs like a thousand pounds, you know.
Where's the phone?
He said, SIR.
He said, Shorty?
He said, I need you guys over here with a truck, right now.
That's where Glenn was.
So SIR came over to the house then, loaded [C] this big church organ, massive thing, [Gb] into the back of the truck.
We went down to Western 3, and we put it on the record.
Oh my God.
That was an overdub later, right?
By that time, it was dark.
And we went into the studio, and they pulled out Wichita Lineman, the
I believe it was an 8-track master.
Wow.
They played it, and we got over it, and Al said, okay, well, let's put it on the intro too, because they liked it.
So the song starts, F, C, C-sauce, or C9.
[Eb] Then it goes to B [Ab]-flat in the beginning of the verse.
[Em] Now, was that the way that it
Was it [Eb] in that key originally, or not?
Let me tell you a parable.
I'll tell you a story, okay?
I'm at home one night, and the phone
[N] Somebody calls, and Laura picks up the phone, and she says, Jimmy.
She said, it's James.
I said, I think it's my third oldest son, Taylor.
I went over to the phone, and I said, hello, you know, and it was James.
And he said, hey, how you doing?
He says, listen, I'm sitting here, and I'm playing Wichita Lineman.
He says, I thought you told me this was an E and F.
And I said, well, it is.
It is.
It's in F.
He said, it never goes to F.
So I said, are you sure?
And he said, [Bm] yeah, I'm pretty sure.
He said, I've been through [C] it several times now.
I said, I got to
We'll [A] talk about this later.
I got to check this out.
So really, [E]
to me, this song is clearly [C] an F.
It starts on a B-flat over C.
Yeah.
And then goes to a B-flat major [Bb] 7.
That's right.
[F]
An A minor 7.
F over A over [G] F.
Yeah.
F over A, I mean.
Either that or Fsus2 over A.
Yeah.
Now it's back to the B-flat [C] over C.
Yeah.
It's a, if you want, it's like an F with [G] no third over D, or it's a D [Dm] minor.
This would be an [Am] A minor.
Yeah.
Then [G] Gsus to [D] D.
To D.
To [C] C.
[G] G over B.
Yep.
[Gm] I put that in.
Over B-flat.
[D] I love that.
That's a D.
[G] Yep.
G over A.
Yeah.
And then B [Bb] major 7.
[G] [C]
[Bb]
[G] Never goes to F.
Right.
Ever.
But it is an F.
When you go to that second chord of the verse, the Fsus2 over A, that was such a modern sound back then.
That was something that you, those were voices that you liked the sound [N] of, right?
Well, I like the sound of Burt Bacharach. Mm-hmm.
And I like the sound of George Martin and the Beatles.
Yes.
And I think that George had a wonderful influence on the way the Beatles harmonized their songs.
Yes.
And having worked with him personally, I can say that he was one of the great gentlemen who ever lived, and it was just a privilege to know him.
But I was in awe of him.
When I heard Eleanor Rigby, I thought I was going to pass out.
So the fusion of classical music and rock music was something, popular music was happening for
It was in progress.
Yeah.
And it was
[C] But accelerated by George [Ab] Martin with those, with the Beatles [C] arrangements.
Can't, and in the same breath, you can't underestimate Burt Bacharach.
Right.
He had studied [Bb] with Nina Roda.
Yeah.
So when he came back, here is the guy who's [E] really been trained to be a classical composer.
Yes.
And he decides to take the, you know, the road less traveled and ends up like writing, Baby, It's You.
And I described it [G] once because I did, I wrote a book called Inside the Art of [D] Songwriting.
And I think that I, [C] you know, some people may think I'm a little bit [G] opinionated, and they'd be right.
But I felt that, I said it in the book, that I feel like the 30s, the 20s, 30s and 40s and partially the 50s were an orgy of chromaticism.
There was, [E] just think about Rhapsody in Blue or think about any, think about country music.
Think about any kind of music you want to think of.
Yeah.
And even, and particularly jazz was incredibly [G] chromatic.
So when Burt came along and the [Bb] Beatles to some degree, they were again drawing on the Baroque realm, which is far enough back in time.
It was actually [C] relatable to teenagers.
It was diatonic music.
[Dm] Yeah.
If you see me walking, [Am]
[Dm] [Am] [D]
[Dm] [Eb]
[Dm]
[Eb]
[Dm] I just can't get over,
[C] [Dm] [F]
[Dm] [Eb]
I'll [Dm]
[Eb]
[Dm] always try.
[Bb]
Where's [Gm] it going now?
[Eb]
[Cm] [Bb]
[Eb]
[F]
That's classical influence.
Burt and then Cynthia Wilde, who was the composer with her husband, Barry Mann, of You've Lost That [N] Lovin' Feeling.
Yeah.
When I was chairing the Songwriters Hall of Fame, we created a word called the Towering Song.
And that was like, I think the third year we gave it out and it was clear
They were sealed off.
Okay.
For [B] years, I was never even [G] invited to one of [B] Glenn's sessions.
[D] When we did Wichita Lineman, he was over at my house one day, [Am] and I said,
you know what, Glenn, I got this old church organ that I just play it when I'm [C] kind of in the mood for a hymn or two.
Okay.
And I said, it's got some really interesting synth stuff on it.
Now, this is pre-synthesizer, but [D] you'd get yourself like a $5,000 Gould Branson electronic church organ.
It had [Bb] all these bells and whistles on it.
Yeah.
It had sustain.
It had a [D] repetitive
It would do that.
[Ab] And there was this one repetitive thing, and I said, at the very [B] end of [G]
the record, [D]
[C] [G] [Bb]
[D] [E]
[Bb]
[C]
[Dm] [Bb] [C]
between these two chords,
[Bb]
[C] and Al's just going like
[F]
He's just doing something very [C] simple.
Yeah.
So I was like, I [Cm] went over and I turned on this ring-a-ding thing, and I held down two notes here, and it went
[G] He said, wow, he said, that's cool.
I said, yeah, it sounds like a satellite or a
Yeah, he said, that's cool.
He said, let's put it on the record.
You know?
I said, what?
When?
He said, now.
And I said, Glenn, that thing weighs like a thousand pounds, you know.
Where's the phone?
He said, SIR.
He said, Shorty?
He said, I need you guys over here with a truck, right now.
That's where Glenn was.
So SIR came over to the house then, loaded [C] this big church organ, massive thing, [Gb] into the back of the truck.
We went down to Western 3, and we put it on the record.
Oh my God.
That was an overdub later, right?
By that time, it was dark.
And we went into the studio, and they pulled out Wichita Lineman, the
I believe it was an 8-track master.
Wow.
They played it, and we got over it, and Al said, okay, well, let's put it on the intro too, because they liked it.
So the song starts, F, C, C-sauce, or C9.
[Eb] Then it goes to B [Ab]-flat in the beginning of the verse.
[Em] Now, was that the way that it
Was it [Eb] in that key originally, or not?
Let me tell you a parable.
I'll tell you a story, okay?
I'm at home one night, and the phone
[N] Somebody calls, and Laura picks up the phone, and she says, Jimmy.
She said, it's James.
I said, I think it's my third oldest son, Taylor.
I went over to the phone, and I said, hello, you know, and it was James.
And he said, hey, how you doing?
He says, listen, I'm sitting here, and I'm playing Wichita Lineman.
He says, I thought you told me this was an E and F.
And I said, well, it is.
It is.
It's in F.
He said, it never goes to F.
So I said, are you sure?
And he said, [Bm] yeah, I'm pretty sure.
He said, I've been through [C] it several times now.
I said, I got to
We'll [A] talk about this later.
I got to check this out.
So really, [E]
to me, this song is clearly [C] an F.
It starts on a B-flat over C.
Yeah.
And then goes to a B-flat major [Bb] 7.
That's right.
[F]
An A minor 7.
F over A over [G] F.
Yeah.
F over A, I mean.
Either that or Fsus2 over A.
Yeah.
Now it's back to the B-flat [C] over C.
Yeah.
It's a, if you want, it's like an F with [G] no third over D, or it's a D [Dm] minor.
This would be an [Am] A minor.
Yeah.
Then [G] Gsus to [D] D.
To D.
To [C] C.
[G] G over B.
Yep.
[Gm] I put that in.
Over B-flat.
[D] I love that.
That's a D.
[G] Yep.
G over A.
Yeah.
And then B [Bb] major 7.
[G] [C]
[Bb]
[G] Never goes to F.
Right.
Ever.
But it is an F.
When you go to that second chord of the verse, the Fsus2 over A, that was such a modern sound back then.
That was something that you, those were voices that you liked the sound [N] of, right?
Well, I like the sound of Burt Bacharach. Mm-hmm.
And I like the sound of George Martin and the Beatles.
Yes.
And I think that George had a wonderful influence on the way the Beatles harmonized their songs.
Yes.
And having worked with him personally, I can say that he was one of the great gentlemen who ever lived, and it was just a privilege to know him.
But I was in awe of him.
When I heard Eleanor Rigby, I thought I was going to pass out.
So the fusion of classical music and rock music was something, popular music was happening for
It was in progress.
Yeah.
And it was
[C] But accelerated by George [Ab] Martin with those, with the Beatles [C] arrangements.
Can't, and in the same breath, you can't underestimate Burt Bacharach.
Right.
He had studied [Bb] with Nina Roda.
Yeah.
So when he came back, here is the guy who's [E] really been trained to be a classical composer.
Yes.
And he decides to take the, you know, the road less traveled and ends up like writing, Baby, It's You.
And I described it [G] once because I did, I wrote a book called Inside the Art of [D] Songwriting.
And I think that I, [C] you know, some people may think I'm a little bit [G] opinionated, and they'd be right.
But I felt that, I said it in the book, that I feel like the 30s, the 20s, 30s and 40s and partially the 50s were an orgy of chromaticism.
There was, [E] just think about Rhapsody in Blue or think about any, think about country music.
Think about any kind of music you want to think of.
Yeah.
And even, and particularly jazz was incredibly [G] chromatic.
So when Burt came along and the [Bb] Beatles to some degree, they were again drawing on the Baroque realm, which is far enough back in time.
It was actually [C] relatable to teenagers.
It was diatonic music.
[Dm] Yeah.
If you see me walking, [Am]
[Dm] [Am] [D]
[Dm] [Eb]
[Dm]
[Eb]
[Dm] I just can't get over,
[C] [Dm] [F]
[Dm] [Eb]
I'll [Dm]
[Eb]
[Dm] always try.
[Bb]
Where's [Gm] it going now?
[Eb]
[Cm] [Bb]
[Eb]
[F]
That's classical influence.
Burt and then Cynthia Wilde, who was the composer with her husband, Barry Mann, of You've Lost That [N] Lovin' Feeling.
Yeah.
When I was chairing the Songwriters Hall of Fame, we created a word called the Towering Song.
And that was like, I think the third year we gave it out and it was clear
Key:
C
G
Bb
Dm
D
C
G
Bb
Al and Glenn cut _ _ virtually in a hyperbaric chamber.
_ They were sealed off.
Okay.
For [B] years, I was never even [G] invited to one of [B] Glenn's sessions.
[D] When we did Wichita Lineman, he was over at my house one day, [Am] and I said,
you know what, Glenn, I got this old _ church organ that I just play it when I'm [C] kind of in the mood for a hymn or two.
Okay.
And I said, it's got some really interesting synth stuff on it.
Now, this is pre-synthesizer, but [D] you'd get yourself like a $5,000 Gould Branson electronic church organ.
It had [Bb] all these bells and whistles on it.
Yeah.
It had sustain.
It had a [D] repetitive_ _ _
It would do that.
[Ab] And there was this one repetitive thing, and I said, at the very [B] end of [G] _
the record, _ _ _ [D] _ _ _
[C] _ _ _ [G] _ _ _ [Bb] _ _
_ [D] _ _ _ _ [E] _ _ _
_ _ [Bb] _ _ _ _ _ _
_ [C] _ _ _ _ _ _ _
[Dm] _ _ _ [Bb] _ _ _ [C] _ _
between these two chords,
_ [Bb] _ _ _
_ [C] _ _ and Al's just going like_ _
_ _ _ _ [F] _ _ _ _
_ _ He's just doing something very [C] simple.
Yeah.
So I was like, I [Cm] _ went over and I turned on this ring-a-ding thing, and I held down two notes here, and it went_
_ _ _ _ _ _ _ _
[G] _ _ _ _ He said, wow, he said, that's cool.
I said, yeah, it sounds like a satellite or a_
Yeah, he said, that's cool.
He said, let's put it on the record.
You know?
I said, what?
When?
He said, now.
And I said, Glenn, that thing weighs like a thousand pounds, you know.
_ Where's the phone? _ _
He said, SIR.
He said, Shorty?
He said, I need you guys over here with a truck, right now.
That's where Glenn was.
So SIR came over to the house then, _ _ loaded [C] this big church organ, massive thing, [Gb] into the back of the truck.
We went down to Western 3, _ and we put it on the record.
Oh my God.
That was an overdub later, right?
By that time, it was dark.
And we went into the studio, and they pulled out Wichita Lineman, the_
I believe it was an 8-track master.
Wow.
They played it, and we got over it, and Al said, okay, well, let's put it on the intro too, because they liked it.
So the song starts, F, C, C-sauce, or C9.
[Eb] Then it goes to B [Ab]-flat in the beginning of the verse.
_ [Em] Now, was that the way that it_
Was it [Eb] in that key originally, or not?
Let me tell you a parable.
I'll tell you a story, okay? _ _
I'm at home one night, and the phone_
[N] Somebody calls, and Laura picks up the phone, and she says, _ Jimmy.
She said, it's James.
I said, I think it's my third oldest son, _ _ Taylor. _ _ _
I went over to the phone, and I said, hello, you know, and it was James.
And he said, _ _ hey, how you doing?
He says, listen, I'm sitting here, and I'm playing Wichita Lineman.
He says, I thought you told me this was an E and F. _
And I said, well, it is.
It is.
It's in F.
He said, it never goes to F. _ _ _ _ _
_ So I said, are you sure? _ _
_ And he said, [Bm] yeah, I'm pretty sure.
He said, I've been through [C] it several times now.
I said, _ I got to_
We'll [A] talk about this later.
I got to check this out.
So really, _ [E]
to me, this _ song is clearly [C] an F. _
It starts on a B-flat over C. _
Yeah.
_ _ _ _ And then goes to a B-flat major [Bb] 7.
That's right.
_ _ [F]
An A minor 7.
_ F over A over [G] F.
Yeah.
F over A, I mean.
Either that or Fsus2 over A.
Yeah. _ _ _ _ _ _ _
Now it's back to the B-flat [C] over C.
Yeah.
It's a, if you want, it's like an _ F with [G] no third over D, or it's a D [Dm] minor. _ _
_ This would be an [Am] A minor.
Yeah. _
Then [G] Gsus _ to _ _ _ _ _ [D] D.
To D. _ _
_ _ _ _ _ _ To [C] C.
_ _ _ [G] _ G over B.
_ _ _ _ Yep.
[Gm] I put that in.
Over B-flat.
_ [D] _ _ I love that.
That's a D.
[G] Yep.
_ G over A.
Yeah.
And then B [Bb] major 7. _ _ _
_ _ _ [G] _ _ _ _ [C] _
_ _ _ [Bb] _ _ _ _ _
[G] _ _ Never goes to F.
Right. _
Ever.
But it is an F.
When you go to that second chord of the verse, the _ Fsus2 over A, that was such a modern sound back then.
That was something that you, those were voices that you liked the sound [N] of, right?
Well, I like the sound of Burt Bacharach. Mm-hmm.
_ And I like the sound of George Martin and the Beatles.
Yes.
_ And I think that George had a wonderful influence on the way the Beatles harmonized their songs.
Yes.
And having worked with him personally, I can say that he was one of the great gentlemen who ever lived, _ and it was just a privilege to know him.
But I was in awe of him.
_ When I heard Eleanor Rigby, I thought I was going to pass out.
_ So the fusion of classical music and rock music was something, popular music was happening for_
It was in progress.
Yeah.
And it was_
[C] But accelerated by George [Ab] Martin with those, with the Beatles [C] arrangements.
Can't, and in the same breath, you _ can't underestimate Burt Bacharach.
Right.
He had studied [Bb] with Nina Roda.
Yeah.
So when he came back, here is the guy who's [E] really been trained to be a classical composer.
Yes.
And he decides to take the, you know, the road less traveled _ and ends up like writing, Baby, It's You.
And I described it [G] once because I did, I wrote a book called Inside the Art of [D] Songwriting.
And I think that I, [C] you know, some people may think I'm a little bit [G] opinionated, _ and they'd be right.
_ _ But I felt that, I said it in the book, that I feel like the 30s, the 20s, 30s and 40s and partially the 50s were an orgy of chromaticism.
_ _ There was, [E] just think about Rhapsody in Blue or think about any, _ think about country music.
Think about any kind of music you want to think of.
Yeah.
And even, and _ _ particularly jazz was incredibly [G] chromatic.
So when Burt came along and the [Bb] Beatles to some degree, they were again drawing on the Baroque realm, which is far enough back in time. _
It was actually [C] relatable to teenagers.
It was diatonic music.
[Dm] Yeah.
If you see me walking, _ _ _ _ [Am] _ _ _
[Dm] _ _ _ [Am] _ _ [D] _ _ _
[Dm] _ _ _ [Eb] _ _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ _
[Dm] I just can't get _ over, _
_ [C] _ _ [Dm] _ _ _ _ [F] _
_ [Dm] _ _ _ _ _ _ [Eb] _
_ _ I'll _ [Dm] _ _ _
_ _ [Eb] _ _ _ _ _ _
[Dm] _ always try.
_ _ [Bb] _ _
_ _ Where's [Gm] it going now? _ _ _
_ _ [Eb] _ _ _ _ _ _
_ _ _ [Cm] _ _ [Bb] _ _ _
_ _ _ [Eb] _ _ _ _ _
_ [F] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ That's classical influence.
Burt and then Cynthia Wilde, who was the composer with her husband, Barry Mann, _ of You've Lost That [N] Lovin' Feeling.
Yeah.
When I was chairing the Songwriters Hall of Fame, we _ created a word called the Towering Song.
And that was like, I think the third year we gave it out and it was clear
_ They were sealed off.
Okay.
For [B] years, I was never even [G] invited to one of [B] Glenn's sessions.
[D] When we did Wichita Lineman, he was over at my house one day, [Am] and I said,
you know what, Glenn, I got this old _ church organ that I just play it when I'm [C] kind of in the mood for a hymn or two.
Okay.
And I said, it's got some really interesting synth stuff on it.
Now, this is pre-synthesizer, but [D] you'd get yourself like a $5,000 Gould Branson electronic church organ.
It had [Bb] all these bells and whistles on it.
Yeah.
It had sustain.
It had a [D] repetitive_ _ _
It would do that.
[Ab] And there was this one repetitive thing, and I said, at the very [B] end of [G] _
the record, _ _ _ [D] _ _ _
[C] _ _ _ [G] _ _ _ [Bb] _ _
_ [D] _ _ _ _ [E] _ _ _
_ _ [Bb] _ _ _ _ _ _
_ [C] _ _ _ _ _ _ _
[Dm] _ _ _ [Bb] _ _ _ [C] _ _
between these two chords,
_ [Bb] _ _ _
_ [C] _ _ and Al's just going like_ _
_ _ _ _ [F] _ _ _ _
_ _ He's just doing something very [C] simple.
Yeah.
So I was like, I [Cm] _ went over and I turned on this ring-a-ding thing, and I held down two notes here, and it went_
_ _ _ _ _ _ _ _
[G] _ _ _ _ He said, wow, he said, that's cool.
I said, yeah, it sounds like a satellite or a_
Yeah, he said, that's cool.
He said, let's put it on the record.
You know?
I said, what?
When?
He said, now.
And I said, Glenn, that thing weighs like a thousand pounds, you know.
_ Where's the phone? _ _
He said, SIR.
He said, Shorty?
He said, I need you guys over here with a truck, right now.
That's where Glenn was.
So SIR came over to the house then, _ _ loaded [C] this big church organ, massive thing, [Gb] into the back of the truck.
We went down to Western 3, _ and we put it on the record.
Oh my God.
That was an overdub later, right?
By that time, it was dark.
And we went into the studio, and they pulled out Wichita Lineman, the_
I believe it was an 8-track master.
Wow.
They played it, and we got over it, and Al said, okay, well, let's put it on the intro too, because they liked it.
So the song starts, F, C, C-sauce, or C9.
[Eb] Then it goes to B [Ab]-flat in the beginning of the verse.
_ [Em] Now, was that the way that it_
Was it [Eb] in that key originally, or not?
Let me tell you a parable.
I'll tell you a story, okay? _ _
I'm at home one night, and the phone_
[N] Somebody calls, and Laura picks up the phone, and she says, _ Jimmy.
She said, it's James.
I said, I think it's my third oldest son, _ _ Taylor. _ _ _
I went over to the phone, and I said, hello, you know, and it was James.
And he said, _ _ hey, how you doing?
He says, listen, I'm sitting here, and I'm playing Wichita Lineman.
He says, I thought you told me this was an E and F. _
And I said, well, it is.
It is.
It's in F.
He said, it never goes to F. _ _ _ _ _
_ So I said, are you sure? _ _
_ And he said, [Bm] yeah, I'm pretty sure.
He said, I've been through [C] it several times now.
I said, _ I got to_
We'll [A] talk about this later.
I got to check this out.
So really, _ [E]
to me, this _ song is clearly [C] an F. _
It starts on a B-flat over C. _
Yeah.
_ _ _ _ And then goes to a B-flat major [Bb] 7.
That's right.
_ _ [F]
An A minor 7.
_ F over A over [G] F.
Yeah.
F over A, I mean.
Either that or Fsus2 over A.
Yeah. _ _ _ _ _ _ _
Now it's back to the B-flat [C] over C.
Yeah.
It's a, if you want, it's like an _ F with [G] no third over D, or it's a D [Dm] minor. _ _
_ This would be an [Am] A minor.
Yeah. _
Then [G] Gsus _ to _ _ _ _ _ [D] D.
To D. _ _
_ _ _ _ _ _ To [C] C.
_ _ _ [G] _ G over B.
_ _ _ _ Yep.
[Gm] I put that in.
Over B-flat.
_ [D] _ _ I love that.
That's a D.
[G] Yep.
_ G over A.
Yeah.
And then B [Bb] major 7. _ _ _
_ _ _ [G] _ _ _ _ [C] _
_ _ _ [Bb] _ _ _ _ _
[G] _ _ Never goes to F.
Right. _
Ever.
But it is an F.
When you go to that second chord of the verse, the _ Fsus2 over A, that was such a modern sound back then.
That was something that you, those were voices that you liked the sound [N] of, right?
Well, I like the sound of Burt Bacharach. Mm-hmm.
_ And I like the sound of George Martin and the Beatles.
Yes.
_ And I think that George had a wonderful influence on the way the Beatles harmonized their songs.
Yes.
And having worked with him personally, I can say that he was one of the great gentlemen who ever lived, _ and it was just a privilege to know him.
But I was in awe of him.
_ When I heard Eleanor Rigby, I thought I was going to pass out.
_ So the fusion of classical music and rock music was something, popular music was happening for_
It was in progress.
Yeah.
And it was_
[C] But accelerated by George [Ab] Martin with those, with the Beatles [C] arrangements.
Can't, and in the same breath, you _ can't underestimate Burt Bacharach.
Right.
He had studied [Bb] with Nina Roda.
Yeah.
So when he came back, here is the guy who's [E] really been trained to be a classical composer.
Yes.
And he decides to take the, you know, the road less traveled _ and ends up like writing, Baby, It's You.
And I described it [G] once because I did, I wrote a book called Inside the Art of [D] Songwriting.
And I think that I, [C] you know, some people may think I'm a little bit [G] opinionated, _ and they'd be right.
_ _ But I felt that, I said it in the book, that I feel like the 30s, the 20s, 30s and 40s and partially the 50s were an orgy of chromaticism.
_ _ There was, [E] just think about Rhapsody in Blue or think about any, _ think about country music.
Think about any kind of music you want to think of.
Yeah.
And even, and _ _ particularly jazz was incredibly [G] chromatic.
So when Burt came along and the [Bb] Beatles to some degree, they were again drawing on the Baroque realm, which is far enough back in time. _
It was actually [C] relatable to teenagers.
It was diatonic music.
[Dm] Yeah.
If you see me walking, _ _ _ _ [Am] _ _ _
[Dm] _ _ _ [Am] _ _ [D] _ _ _
[Dm] _ _ _ [Eb] _ _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ [Eb] _ _ _ _ _ _ _
[Dm] I just can't get _ over, _
_ [C] _ _ [Dm] _ _ _ _ [F] _
_ [Dm] _ _ _ _ _ _ [Eb] _
_ _ I'll _ [Dm] _ _ _
_ _ [Eb] _ _ _ _ _ _
[Dm] _ always try.
_ _ [Bb] _ _
_ _ Where's [Gm] it going now? _ _ _
_ _ [Eb] _ _ _ _ _ _
_ _ _ [Cm] _ _ [Bb] _ _ _
_ _ _ [Eb] _ _ _ _ _
_ [F] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ That's classical influence.
Burt and then Cynthia Wilde, who was the composer with her husband, Barry Mann, _ of You've Lost That [N] Lovin' Feeling.
Yeah.
When I was chairing the Songwriters Hall of Fame, we _ created a word called the Towering Song.
And that was like, I think the third year we gave it out and it was clear