Chords for Murray McLachlan and the Yamaha AvantGrand N1

Tempo:
128.6 bpm
Chords used:

G

F

Db

Eb

Fm

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Murray McLachlan and the Yamaha AvantGrand N1 chords
Start Jamming...
[Dm]
[G]
[D] [G]
[Bb]
[Cm]
I'm Murray McLoughlin, I'm head of keyboard at Cheetham School of Music,
chair of the European Piano Teachers Association,
[D] and also [G] teacher at the Royal Northern College of Music.
[Bbm]
[Fm] [C]
[Bb] [Ebm] [Gm] The first thing that struck me when I saw this instrument
was how [Cm] handsome it was.
It feels as though you're seated [G] at a concert grand piano.
The action itself feels [E] wonderfully [Am]
firm,
it feels like a really expensive,
wonderful, sympathetic concert beast.
What is really surprising is the pedals,
the fact that I can [F] do more or less everything that I normally do
on a concert grand piano on this avant-grande,
using all three pedals at the same time,
like the beginning of a Debussy study, Pauly's Agrément.
At the very beginning I would take that middle pedal,
swivel this around and use the soft pedal,
and then use the loud pedal.
[G]
[E] [F]
[E] [Am] [Gm]
Also what's interesting is reproducing effects
that you can get on a 40-piano, a historic instrument
that Beethoven or Mozart would have known.
Quite often they write 40 piano on one chord,
but on a grand piano, certain pianists try to get that [Cm] effect
by fluttering the pedal and lifting and dropping the hands
on the same chord.
[G] [Cm] [Gbm] [G]
[Ab]
[G] [Ab] [Cm]
On an upright or on a clavinova or another digital piano,
you would [Eb] just
He's stuck on 40.
I think the acid test of any piano with regard to sound and the bass
[Fm] is the opening of Rachmaninoff's 2nd Piano [Db] Concerto.
[F]
[Fm] [F] [Ab]
[F]
[Fm] [F] [Fm]
[F] [Db] [Ab] [Fm]
[G] [Cm]
Quite an incredible sound.
We have these chords getting louder
and we have [F] this F being reiterated over and over again.
Likewise, we have to try the extreme high [Am] register.
[Fm] Very impressive sound, and it makes you work your fingers.
It's not making you lazy either.
For my taste, [Db] the most important [Eb] thing of all about [Fm] the piano
is the ability to float tone.
[Db]
Usually with an upright piano, [Gbm] the sound will [Am] die much quicker.
[B] [Gbm] On this instrument, [Abm] it's much easier to [Bbm] actually [Db] make the notes
last longer and to continue the sound of reverberation,
so it's very useful as [Ab] a sort of [Db] educational tool, I think.
[Ab]
[Db] That sort of sound carrying through is very important
when you're trying to develop a rich tone in students
and when you're trying to get them to learn to connect notes
in a long phrase rather than playing [Fm] individual notes
like [Ab] stones being thrown.
I think what's really wonderful is the subtleties.
It's not just a case of loud and soft.
It's possible to get all kinds of different dynamics.
[Eb] It's possible to bring out melodic lines,
so whether you're doing
Bring out [G] the top, [Bb] [Eb]
[D] [Db] it's easy [Eb] to bring [Ab] out the bass,
[Bb]
[Eb] [D] [Db] or perhaps the [Eb] middle.
[G] [Abm]
[G] [Bb] [Eb]
[B] [F] [Bb] [Eb] We've got a very busy, crazy house in [E] that we have [Am] 4 children
who are all serious pianists, [D] and they all do [Em] exams and festivals
and concerts and competitions, [G] so we're all fighting for [F] the piano,
but it is very helpful [G] to have an avant-grande
as [F] well as a conventional grande,
[G] as well as a clavadover [Bb] in the house.
[G] It's very useful to have somebody who [Gb] can play with [G] headphones
to avoid [Db] the cacophony that will ensue [Eb] in a normal, [Am] detached house.
[F] [Db] I think it's important to realise that the avant-grande
[Am] is not a better upright piano, [Db]
and it's not a grand piano.
[Gb] It's got its own personality.
[F]
I think the fact that it's got so many uses in the home
with regard to [Gb]
education, being perfect in conservatoires,
the fact that it can train [C] students who [Ebm] can't afford to buy a grand piano,
I think it's got its own [Gbm] identity,
and I think that many people [F] across the spectrum,
performers, [Db] students, teachers, institutions,
will find it very special for many different uses.
[N]
Key:  
G
2131
F
134211111
Db
12341114
Eb
12341116
Fm
123111111
G
2131
F
134211111
Db
12341114
Show All Diagrams
Chords
NotesBeta
Download PDF
Download Midi
Edit This Version
Hide Lyrics Hint
[Dm] _ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ _ _
_ _ [D] _ _ [G] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Bb] _ _
_ [Cm] _ _ _ _ _ _ _
_ _ I'm Murray McLoughlin, I'm head of keyboard at Cheetham School of Music,
chair of the European Piano Teachers Association,
[D] and also [G] teacher at the Royal Northern College of Music.
[Bbm] _
_ _ _ _ [Fm] _ _ [C] _ _
[Bb] _ [Ebm] _ _ [Gm] _ _ _ The first thing that struck me when I saw this instrument
was how [Cm] handsome it was.
It feels as though you're seated [G] at a concert grand piano.
The action itself feels [E] wonderfully [Am] _
firm,
it feels like a really expensive,
wonderful, sympathetic concert beast.
What is really surprising is the pedals,
the fact that I can [F] do more or less everything that I normally do
on a concert grand piano on this avant-grande,
using all three pedals at the same time,
like the beginning of a Debussy study, Pauly's Agrément.
At the very beginning I would take that middle pedal,
swivel this around and use the soft pedal,
and then use the loud pedal. _
_ _ _ _ _ _ _ [G] _
_ [E] _ _ _ [F] _ _ _ _
_ _ _ [E] _ _ [Am] _ _ [Gm] _
_ Also what's interesting is _ reproducing effects
that you can get on a 40-piano, a historic instrument
that Beethoven or Mozart would have known.
Quite often they write 40 piano on one chord,
but on a grand piano, certain pianists try to get that [Cm] effect
by fluttering the pedal and lifting and dropping the hands
on the same chord. _ _ _ _ _
[G] _ _ [Cm] _ [Gbm] _ _ _ _ [G] _
_ _ [Ab] _ _ _ _ _ _
_ [G] _ [Ab] _ _ _ _ _ [Cm] _
On an upright or on a clavinova or another digital piano,
you would [Eb] just_
He's stuck on 40. _
I think the acid test of any piano with regard to sound and the bass
[Fm] is the opening of Rachmaninoff's 2nd Piano [Db] Concerto.
_ [F] _
_ [Fm] _ _ _ [F] _ _ _ [Ab] _
_ [F] _ _ _ _ _ _ _
_ [Fm] _ _ _ [F] _ _ [Fm] _ _
_ [F] _ _ _ [Db] _ [Ab] _ _ [Fm] _
_ [G] _ [Cm] _ _ _ _ _ _
_ _ _ Quite an incredible sound.
We have these chords getting louder
and we have [F] this F being _ _ _ reiterated over and over again.
Likewise, we have to try the extreme high [Am] register.
_ _ _ _ _ _ _ _
_ _ _ [Fm] Very impressive sound, and it makes you work your fingers.
It's not making you lazy either.
For my taste, [Db] the most important [Eb] thing of all about [Fm] the piano
is the ability to float tone.
[Db] _
Usually with an upright piano, [Gbm] the sound will [Am] die much quicker.
[B] _ [Gbm] On this instrument, [Abm] it's much easier to [Bbm] actually [Db] make the notes
last longer and to continue the sound of reverberation,
so it's very useful as [Ab] a sort of [Db] educational tool, I think.
_ _ [Ab] _
_ _ [Db] _ _ _ _ That sort of sound carrying through is very important
when you're trying to develop a rich tone in students
and when you're trying to get them to learn to connect notes
in a long phrase rather than playing _ [Fm] individual notes
like [Ab] stones being thrown.
I think what's really wonderful is the subtleties.
It's not just a case of loud and soft.
It's possible to get all kinds of different dynamics. _
_ _ _ _ _ [Eb] It's possible to bring out _ melodic lines,
so whether you're doing_
Bring out [G] the top, [Bb] _ [Eb] _ _
_ _ [D] _ _ [Db] it's easy [Eb] to _ bring _ _ [Ab] out the bass,
[Bb] _
[Eb] _ _ _ _ _ _ [D] [Db] or perhaps the [Eb] middle.
_ _ _ _ [G] _ [Abm] _
_ [G] _ [Bb] _ [Eb] _ _ _ _ _
[B] _ _ [F] _ _ [Bb] _ [Eb] _ We've got a very busy, crazy house in [E] that we have [Am] 4 children
who are all serious pianists, [D] and they all do [Em] exams and festivals
and concerts and competitions, [G] so we're all fighting for [F] the piano,
but it is very helpful [G] to have an avant-grande
as [F] well as a conventional grande,
[G] as well as a clavadover [Bb] in the house.
[G] It's very useful to have somebody who [Gb] can play with [G] headphones
to avoid [Db] the cacophony that will ensue [Eb] in a normal, [Am] detached house. _ _
_ [F] _ [Db] I think it's important to realise that the avant-grande
[Am] is not a better upright piano, [Db]
and it's not a grand piano.
[Gb] It's got its own personality.
_ [F] _ _ _ _
_ _ _ I think the fact that it's got so many uses in the home
with regard to [Gb]
education, being perfect in conservatoires,
the fact that it can train [C] students who [Ebm] can't afford to buy a grand piano,
I think it's got its own [Gbm] identity,
and I think that many people [F] across the spectrum,
performers, [Db] students, teachers, _ institutions,
will find it very special for many different uses. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _

You may also like to play

8:54
Yamaha Avantgrand N1x vs Kawai Novus NV10 | Both Played
5:52
my new piano 😍 | YAMAHA N3X AVANTGRAND PIANO REVIEW
4:42
Corporate Profile Video | Yamaha Music
7:19
Playing Piano Fast: 3 Common Mistakes