Chords for John Williams talks about the Classical guitar Part 2
Tempo:
102.75 bpm
Chords used:
A
E
Bm
Gb
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
One of the greatest ever [Gb] virtuosi, Andres Segovia,
claimed that he was rescuing the [F] guitar
from the hands of [G] the noisy flamenco [A] players.
[E]
As his protégé, John Williams, [Bm] points out,
he [A] fought for the status and repertoire that the guitar had always [E] lacked.
[Ab]
[G] [A] Segovia created the [Ab] sort of 20th-century being of the guitar
as a concert instrument.
His [B] technique, he played with the nails,
and the guitarists, [Bm] previously to that, guitarists,
they played with the nails and with the flesh,
but they'd never really developed a very clear sound
that could be [A] projected in [C] public.
And the [F] nail helped.
The nail helped that, [Gbm] and he was so strong at doing it.
[Gbm] [Abm]
[B] [A] [Abm]
[Dbm] [E] [F] You've got quite a [Abm] small hand, haven't you?
[Em] I think it's quite, the stretch is quite good, [Eb] it's quite [Fm] flexible,
but it's [E] not big.
What do you need to be, what physical attributes do you need?
The most important thing for classical players,
which can be quite a problem, is the nails of the right hand,
because we actually play with the nails.
And it's the angle of the nail and the position on the string
that gives the different colour.
Even without changing the position on the string,
I can make either a sound like this,
[Em] and if I turn the angle round so I'm more flat onto the string,
and I just turn it round a little bit,
and you find that what becomes very instinctive after a while
is that while you're playing, unconsciously,
depending on how you're feeling,
[Bm] you're changing those positions all the time.
[B] The [E] concentration on the quality of sound and the variety of sound
is to do with the classical [A] guitar as opposed to popular guitar.
[Gb]
[Ab] [Gb]
[E] [Bm]
[A] His personality was magnificent.
He had [Bb] a grandeur and [A] a sort of magic
about [Fm] just seeing that chap [A] down on the stage there,
and everyone's absolutely hypnotised to hear these magical [Gm] sounds coming.
So that's what he did [N] with the guitar.
claimed that he was rescuing the [F] guitar
from the hands of [G] the noisy flamenco [A] players.
[E]
As his protégé, John Williams, [Bm] points out,
he [A] fought for the status and repertoire that the guitar had always [E] lacked.
[Ab]
[G] [A] Segovia created the [Ab] sort of 20th-century being of the guitar
as a concert instrument.
His [B] technique, he played with the nails,
and the guitarists, [Bm] previously to that, guitarists,
they played with the nails and with the flesh,
but they'd never really developed a very clear sound
that could be [A] projected in [C] public.
And the [F] nail helped.
The nail helped that, [Gbm] and he was so strong at doing it.
[Gbm] [Abm]
[B] [A] [Abm]
[Dbm] [E] [F] You've got quite a [Abm] small hand, haven't you?
[Em] I think it's quite, the stretch is quite good, [Eb] it's quite [Fm] flexible,
but it's [E] not big.
What do you need to be, what physical attributes do you need?
The most important thing for classical players,
which can be quite a problem, is the nails of the right hand,
because we actually play with the nails.
And it's the angle of the nail and the position on the string
that gives the different colour.
Even without changing the position on the string,
I can make either a sound like this,
[Em] and if I turn the angle round so I'm more flat onto the string,
and I just turn it round a little bit,
and you find that what becomes very instinctive after a while
is that while you're playing, unconsciously,
depending on how you're feeling,
[Bm] you're changing those positions all the time.
[B] The [E] concentration on the quality of sound and the variety of sound
is to do with the classical [A] guitar as opposed to popular guitar.
[Gb]
[Ab] [Gb]
[E] [Bm]
[A] His personality was magnificent.
He had [Bb] a grandeur and [A] a sort of magic
about [Fm] just seeing that chap [A] down on the stage there,
and everyone's absolutely hypnotised to hear these magical [Gm] sounds coming.
So that's what he did [N] with the guitar.
Key:
A
E
Bm
Gb
F
A
E
Bm
_ _ _ _ One of the greatest ever [Gb] virtuosi, Andres Segovia,
claimed that he was rescuing the [F] guitar
from the hands of [G] the noisy flamenco [A] players.
_ [E] _ _
As his protégé, John Williams, [Bm] points out,
he [A] fought for the status and repertoire that the guitar had always [E] lacked.
_ _ [Ab] _ _
[G] _ [A] _ _ Segovia created the [Ab] sort of 20th-century _ being of the guitar
as a concert instrument.
His [B] technique, he played with the nails,
and the guitarists, [Bm] previously to that, guitarists,
they played with the nails and with the flesh,
but they'd never really developed a very clear sound
that could be [A] projected in [C] public.
And the [F] nail helped.
The nail helped that, [Gbm] and he was so strong at doing it. _ _
[Gbm] _ _ _ _ _ _ [Abm] _ _
_ [B] _ _ [A] _ _ [Abm] _ _ _
[Dbm] _ _ _ [E] _ _ _ [F] You've got quite a [Abm] small hand, haven't you?
[Em] I think it's quite, the stretch is quite good, [Eb] it's quite [Fm] flexible,
but it's [E] not big.
What do you need to be, what physical attributes do you need?
The most important thing for classical players,
which can be quite a problem, is the nails of the right hand,
because we actually play with the nails.
And it's the angle of the nail and the position on the string
that gives the different colour.
Even without changing the position on the string,
I can make either a sound like this, _ _ _ _
[Em] and if I turn the angle round so I'm more flat onto the string, _ _ _ _ _
and I just turn it round a little bit, _ _ _
and you find that what becomes very instinctive after a while
is that while you're playing, unconsciously,
depending on how you're feeling,
[Bm] you're changing those positions all the time.
[B] _ The [E] concentration on the quality of sound and the variety of sound
is to do with the classical [A] guitar as opposed to popular guitar.
[Gb] _
_ _ _ _ [Ab] _ _ [Gb] _ _
[E] _ _ _ _ [Bm] _ _ _ _
_ [A] His personality was magnificent.
He had [Bb] a grandeur and [A] a sort of magic
about [Fm] just seeing that chap [A] down on the stage there,
and everyone's absolutely hypnotised to hear these magical [Gm] sounds coming.
So that's what he did [N] with the guitar.
claimed that he was rescuing the [F] guitar
from the hands of [G] the noisy flamenco [A] players.
_ [E] _ _
As his protégé, John Williams, [Bm] points out,
he [A] fought for the status and repertoire that the guitar had always [E] lacked.
_ _ [Ab] _ _
[G] _ [A] _ _ Segovia created the [Ab] sort of 20th-century _ being of the guitar
as a concert instrument.
His [B] technique, he played with the nails,
and the guitarists, [Bm] previously to that, guitarists,
they played with the nails and with the flesh,
but they'd never really developed a very clear sound
that could be [A] projected in [C] public.
And the [F] nail helped.
The nail helped that, [Gbm] and he was so strong at doing it. _ _
[Gbm] _ _ _ _ _ _ [Abm] _ _
_ [B] _ _ [A] _ _ [Abm] _ _ _
[Dbm] _ _ _ [E] _ _ _ [F] You've got quite a [Abm] small hand, haven't you?
[Em] I think it's quite, the stretch is quite good, [Eb] it's quite [Fm] flexible,
but it's [E] not big.
What do you need to be, what physical attributes do you need?
The most important thing for classical players,
which can be quite a problem, is the nails of the right hand,
because we actually play with the nails.
And it's the angle of the nail and the position on the string
that gives the different colour.
Even without changing the position on the string,
I can make either a sound like this, _ _ _ _
[Em] and if I turn the angle round so I'm more flat onto the string, _ _ _ _ _
and I just turn it round a little bit, _ _ _
and you find that what becomes very instinctive after a while
is that while you're playing, unconsciously,
depending on how you're feeling,
[Bm] you're changing those positions all the time.
[B] _ The [E] concentration on the quality of sound and the variety of sound
is to do with the classical [A] guitar as opposed to popular guitar.
[Gb] _
_ _ _ _ [Ab] _ _ [Gb] _ _
[E] _ _ _ _ [Bm] _ _ _ _
_ [A] His personality was magnificent.
He had [Bb] a grandeur and [A] a sort of magic
about [Fm] just seeing that chap [A] down on the stage there,
and everyone's absolutely hypnotised to hear these magical [Gm] sounds coming.
So that's what he did [N] with the guitar.