Chords for John Williams - Vals No 3, Opus 8 - Barrios Mangore
Tempo:
95.65 bpm
Chords used:
A
Dm
D
Gm
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Dm] [A] [Bb]
[E]
[Dm] [Gm] [D] [A]
[Cm] [G] [Gm] [Bbm]
[Dm] [E] [Dm] [A]
[Dm] Agustín Barrios and [F] Mangoré, [A] to give him his [D] full name, was a [Gm] great Paraguayan guitarist
composer and he lived from 1885 [Dm] to the early 1940s.
[E] And his music is just, [C] it's [Bb] everything.
He wrote in Baroque style, [F] he wrote [Cm] in 19th century Romantic style, and he wrote in his
[G] own [Gm] sort of semi [Bbm]-folk style.
[Dm]
[A] [E] [Dm] [Bb] [D]
[A] [Dm]
[D] [C] [Bb] [Gb] [A] [Bb]
[Gm] [Dm] [D]
[A] I [Dm] think the [Gm] greatest [C]
[F] guitar composer, [D] in other words, [A] guitarist
who wrote guitar [Gbm] music [Bb] of all.
[Gm] [A] [D]
[N] He had a real feeling for form, his pieces used to balance,
you never felt they were too long or too short.
And melodically, they sort of used to join
up, they weren't just one little clever idea.
So his harmony is almost like a jazz musician.
I used to think, I still do, that a lot of his phrases are like Django Reinhardt, the
great jazz, gypsy guitarist, is that they, one tune sort of takes you, without you knowing
into another part of the tune.
An example would [Bb] be here,
[Dm] [E] [D]
[Gbm] you've [E] got to there, [Bb] but he
[D] uses [E] this to continue.
[Bb] [A] [Cm] [G]
[Gm] [Dm] [A] Continuous [Dm] imagination, and he's [A] a very [D] notable composer.
[Em] [G] [A] [D]
[Ab] [A] [D] [Em]
[A] [Gb] [D]
[Gbm] [D] [G]
[A] [D] [Gb]
[G] [Db] [Gb] [Bm]
[D] [Em] [A]
[D] [Ab] [A] [Dm]
[D] [Em] [A]
[Gb] [D] [A] [D]
[A] [B] [Em] [Gb]
[E] [A]
[E] [A] [Gm] [A]
[Gm] [A]
[Dm] [A] My mother was, broadly [Dm] speaking, Australian, but she was half [Bb] Chinese.
[Gm] My father was a
[Dm] Londoner.
London in those days [Gm] was the centre of empire, wasn't it?
Even sort of [A] cultured
left-wing people, it was [Cm] the centre of the cultural empire.
[G] [Gm] [Dm] [E]
[Dm] [Bb] [A] [Dm]
[Ab] So in 1951, 1952, we all
came
[E]
[Dm] [Gm] [D] [A]
[Cm] [G] [Gm] [Bbm]
[Dm] [E] [Dm] [A]
[Dm] Agustín Barrios and [F] Mangoré, [A] to give him his [D] full name, was a [Gm] great Paraguayan guitarist
composer and he lived from 1885 [Dm] to the early 1940s.
[E] And his music is just, [C] it's [Bb] everything.
He wrote in Baroque style, [F] he wrote [Cm] in 19th century Romantic style, and he wrote in his
[G] own [Gm] sort of semi [Bbm]-folk style.
[Dm]
[A] [E] [Dm] [Bb] [D]
[A] [Dm]
[D] [C] [Bb] [Gb] [A] [Bb]
[Gm] [Dm] [D]
[A] I [Dm] think the [Gm] greatest [C]
[F] guitar composer, [D] in other words, [A] guitarist
who wrote guitar [Gbm] music [Bb] of all.
[Gm] [A] [D]
[N] He had a real feeling for form, his pieces used to balance,
you never felt they were too long or too short.
And melodically, they sort of used to join
up, they weren't just one little clever idea.
So his harmony is almost like a jazz musician.
I used to think, I still do, that a lot of his phrases are like Django Reinhardt, the
great jazz, gypsy guitarist, is that they, one tune sort of takes you, without you knowing
into another part of the tune.
An example would [Bb] be here,
[Dm] [E] [D]
[Gbm] you've [E] got to there, [Bb] but he
[D] uses [E] this to continue.
[Bb] [A] [Cm] [G]
[Gm] [Dm] [A] Continuous [Dm] imagination, and he's [A] a very [D] notable composer.
[Em] [G] [A] [D]
[Ab] [A] [D] [Em]
[A] [Gb] [D]
[Gbm] [D] [G]
[A] [D] [Gb]
[G] [Db] [Gb] [Bm]
[D] [Em] [A]
[D] [Ab] [A] [Dm]
[D] [Em] [A]
[Gb] [D] [A] [D]
[A] [B] [Em] [Gb]
[E] [A]
[E] [A] [Gm] [A]
[Gm] [A]
[Dm] [A] My mother was, broadly [Dm] speaking, Australian, but she was half [Bb] Chinese.
[Gm] My father was a
[Dm] Londoner.
London in those days [Gm] was the centre of empire, wasn't it?
Even sort of [A] cultured
left-wing people, it was [Cm] the centre of the cultural empire.
[G] [Gm] [Dm] [E]
[Dm] [Bb] [A] [Dm]
[Ab] So in 1951, 1952, we all
came
Key:
A
Dm
D
Gm
Bb
A
Dm
D
[Dm] _ _ _ [A] _ _ _ [Bb] _ _
_ _ [E] _ _ _ _ _ _
[Dm] _ _ _ [Gm] _ _ _ [D] _ [A] _
_ [Cm] _ _ _ [G] _ _ [Gm] _ [Bbm] _
[Dm] _ _ [E] _ [Dm] _ [A] _ _ _ _
_ [Dm] Agustín Barrios and [F] Mangoré, [A] to give him his [D] full name, was a [Gm] great Paraguayan guitarist
composer and he lived from 1885 [Dm] to the early 1940s.
[E] And his music is just, [C] it's [Bb] everything.
He wrote in Baroque style, [F] he wrote [Cm] in 19th century Romantic style, and he wrote in his
[G] own [Gm] sort of semi [Bbm]-folk style.
[Dm] _
_ [A] _ [E] _ [Dm] _ _ [Bb] _ [D] _ _
_ [A] _ _ _ [Dm] _ _ _ _
[D] _ [C] _ [Bb] _ [Gb] _ [A] _ _ _ [Bb] _
_ [Gm] _ _ _ [Dm] _ _ [D] _ _
[A] _ _ _ I [Dm] think the [Gm] greatest [C]
[F] guitar composer, [D] in other words, [A] guitarist
who wrote guitar [Gbm] music [Bb] of all. _
[Gm] _ _ [A] _ [D] _ _ _ _
[N] He had a real feeling for form, his pieces used to balance,
you never felt they were too long or too short.
And melodically, they sort of used to join
up, they weren't just one little clever idea.
So his harmony is almost like a jazz musician.
I used to think, I still do, that a lot of his phrases are like Django Reinhardt, the
great jazz, gypsy guitarist, is that they, one tune sort of takes you, without you knowing
into another part of the tune.
An example would [Bb] be here, _
[Dm] _ _ _ [E] _ _ _ [D] _ _
[Gbm] you've [E] got to there, _ [Bb] but he
[D] uses [E] this to continue.
[Bb] _ [A] _ [Cm] _ _ _ _ [G] _
_ [Gm] _ [Dm] _ _ _ [A] Continuous [Dm] imagination, and he's [A] a very [D] notable composer. _ _ _ _
_ [Em] _ _ [G] _ [A] _ [D] _ _ _
[Ab] _ _ [A] _ [D] _ _ _ _ [Em] _
_ [A] _ _ [Gb] _ _ _ [D] _ _
[Gbm] _ _ _ _ [D] _ _ _ [G] _
_ [A] _ _ [D] _ _ _ _ [Gb] _
[G] _ _ [Db] _ [Gb] _ _ _ _ [Bm] _
_ [D] _ _ _ [Em] _ _ [A] _ _
[D] _ _ _ _ [Ab] _ [A] _ _ [Dm] _
_ [D] _ _ [Em] _ _ _ [A] _ _
[Gb] _ _ _ [D] _ _ _ [A] _ [D] _
_ [A] _ _ _ [B] _ _ [Em] _ [Gb] _
_ [E] _ [A] _ _ _ _ _ _
[E] _ _ [A] _ [Gm] _ _ [A] _ _ _
[Gm] _ [A] _ _ _ _ _ _ _
_ [Dm] _ _ _ _ [A] My mother was, broadly [Dm] speaking, Australian, but she was half [Bb] Chinese.
[Gm] My father was a _
_ [Dm] Londoner.
London in those days [Gm] was the centre of empire, wasn't it?
Even sort of [A] cultured
left-wing people, it was [Cm] the centre of the cultural empire.
[G] _ [Gm] _ _ _ [Dm] _ _ [E] _ _
[Dm] _ _ _ [Bb] _ [A] _ _ _ [Dm] _
_ _ [Ab] So in 1951, 1952, we all
came
_ _ [E] _ _ _ _ _ _
[Dm] _ _ _ [Gm] _ _ _ [D] _ [A] _
_ [Cm] _ _ _ [G] _ _ [Gm] _ [Bbm] _
[Dm] _ _ [E] _ [Dm] _ [A] _ _ _ _
_ [Dm] Agustín Barrios and [F] Mangoré, [A] to give him his [D] full name, was a [Gm] great Paraguayan guitarist
composer and he lived from 1885 [Dm] to the early 1940s.
[E] And his music is just, [C] it's [Bb] everything.
He wrote in Baroque style, [F] he wrote [Cm] in 19th century Romantic style, and he wrote in his
[G] own [Gm] sort of semi [Bbm]-folk style.
[Dm] _
_ [A] _ [E] _ [Dm] _ _ [Bb] _ [D] _ _
_ [A] _ _ _ [Dm] _ _ _ _
[D] _ [C] _ [Bb] _ [Gb] _ [A] _ _ _ [Bb] _
_ [Gm] _ _ _ [Dm] _ _ [D] _ _
[A] _ _ _ I [Dm] think the [Gm] greatest [C]
[F] guitar composer, [D] in other words, [A] guitarist
who wrote guitar [Gbm] music [Bb] of all. _
[Gm] _ _ [A] _ [D] _ _ _ _
[N] He had a real feeling for form, his pieces used to balance,
you never felt they were too long or too short.
And melodically, they sort of used to join
up, they weren't just one little clever idea.
So his harmony is almost like a jazz musician.
I used to think, I still do, that a lot of his phrases are like Django Reinhardt, the
great jazz, gypsy guitarist, is that they, one tune sort of takes you, without you knowing
into another part of the tune.
An example would [Bb] be here, _
[Dm] _ _ _ [E] _ _ _ [D] _ _
[Gbm] you've [E] got to there, _ [Bb] but he
[D] uses [E] this to continue.
[Bb] _ [A] _ [Cm] _ _ _ _ [G] _
_ [Gm] _ [Dm] _ _ _ [A] Continuous [Dm] imagination, and he's [A] a very [D] notable composer. _ _ _ _
_ [Em] _ _ [G] _ [A] _ [D] _ _ _
[Ab] _ _ [A] _ [D] _ _ _ _ [Em] _
_ [A] _ _ [Gb] _ _ _ [D] _ _
[Gbm] _ _ _ _ [D] _ _ _ [G] _
_ [A] _ _ [D] _ _ _ _ [Gb] _
[G] _ _ [Db] _ [Gb] _ _ _ _ [Bm] _
_ [D] _ _ _ [Em] _ _ [A] _ _
[D] _ _ _ _ [Ab] _ [A] _ _ [Dm] _
_ [D] _ _ [Em] _ _ _ [A] _ _
[Gb] _ _ _ [D] _ _ _ [A] _ [D] _
_ [A] _ _ _ [B] _ _ [Em] _ [Gb] _
_ [E] _ [A] _ _ _ _ _ _
[E] _ _ [A] _ [Gm] _ _ [A] _ _ _
[Gm] _ [A] _ _ _ _ _ _ _
_ [Dm] _ _ _ _ [A] My mother was, broadly [Dm] speaking, Australian, but she was half [Bb] Chinese.
[Gm] My father was a _
_ [Dm] Londoner.
London in those days [Gm] was the centre of empire, wasn't it?
Even sort of [A] cultured
left-wing people, it was [Cm] the centre of the cultural empire.
[G] _ [Gm] _ _ _ [Dm] _ _ [E] _ _
[Dm] _ _ _ [Bb] _ [A] _ _ _ [Dm] _
_ _ [Ab] So in 1951, 1952, we all
came