Chords for NASHVILLE STUDIO MUSICIAN(s) BUDDY EMMONS

_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G] _ _ _ _ _ _ _ [E] _
_ _ [G] _ _ _ [C] _ _ _
[F] _ I've worked for [C] 15 years as a musician in [D] the entertainment [Dm] industry and maybe [C] one of
the attractions of freely [F] improvised music [Fm] is that it's about as far as it's [G] possible
to get from all that [Dm] stuff.
Though the [C] ability to [F] improvise is vital for working musicians, [C] even where you might least [F] expect it. _
[C] _ _ _ _ _ [F] _ _ _
[F] Some of the original Nashville studio [F#] players are still there.
[F] Over the past 30 years, they've [C] played with every name in country music. _
[A#] _ _ _ _ [B] _ _ _ [F] _
_ _ [G] _ _ _ [C] _ _ _
[F] _ _ [D] _ _ _ [Dm] _ _ [C]
Buddy Emmons' reputation [Dm] as a steeled guitar player is second to [B] none.
I [A#] _ _ _ [F] _ _ _
_ _ _ [Dm] _ _ [G] _ _ _
[D#] _ _ [F] _ _ _ [G] _ _ [C] _
_ _ _ _ _ _ [Dm] _ _
[C] _ _ _ can't relate to the harmonic bass theory and all that because [Dm] my idea of improvisation
is [F] this little collection of cliches that I've put in the back of my memory from all
of my [B] years of listening.
[D] _ _ _
_ [C] _ _ _ [C#] _ _ _ [D] _
_ _ _ Because that's the way I learned to play this instrument was [B] buying all the records from
Nashville, Tennessee _ and trying to learn all the solos that were on various Hank Williams
records and _ whatever record steel guitar were on.
That was my learning process.
_ Those records were all [D] _
based on improvisation.
_ In the early days, when I got here in 1955, this whole town was built on improvisation
because there was no sheet music, no number system, nothing to rely on but your memory.
You'd listen to a song in the studio before you cut it and then you'd try to memorize
the whole _ set of chords.
_ [Am] _ _ _
[Dm] _ [D] For many musicians, the [Am] recording studio is [Em] their workshop.
They rarely play [C] anywhere else.
And in the Nashville [F] studios, every [A#] producer expects [G] his musicians to be able to improvise.
Well, particularly here in Nashville, the process of making records is _ really dependent on improvisation.
The _ song is determined and the chords for the song are determined.
And not a whole lot more is actually structured than the key, what tune we're going to perform
and what those chord changes are going to be.
And we start from there with some basic idea of the tempo and the kind of feel we want for it.
But everybody really starts to find their own place in the making of that song really quickly.
And there's certainly a certain _ _ standard sort of beginning approach to [E] how to do that.
But [A] it starts deepening. _ _
[D] _ _ _ _ _ [C#] _ _ _
_ _ [E] _ _ _ _ _ [C#] _
_ _ _ _ [F#m] _ _ _ _
[G] _ _ _ [G#] _ _ [Bm] _ _ _
[B] _ _ [Bm] _ _ [E] _ _ _ [C#] _
_ _ _ _ _ [F#m] _ _ _
[B] _ _ [Bm] _ _ _ _ [A] _ _
_ _ _ [F#] _ _ _ _ _
[B] _ _ _ _ _ [G#] _ _ [B] _
_ _ _ [C#] _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ _ [B] _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ [A] _ _ _ _ [E] _ _ _
[G#m] _ [A] _ _ _ _ _ _ _
[B] _ _ _ _ _ _ _ _
[E] _ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _