Chords for Paul Mccartney & George Martin "Gloriana: Courtly Dances"

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What [Db] are we doing?
_ [Ab] Interviewing two songs. _
Yes, well we'll do the [Bb] interview first [Abm] if you don't mind.
[F] _
_ _ _ [D] So where's [A] the capo then?
Which is the [Bb] one that's wide enough?
[F] _ _ _
_ [G] As well as acting [F] and writing, Broad Street [Bb] provided McCartney with [C] his first opportunity at composing [Gm] incidental film music.
In the past [F] he has written film themes, [C] most notably The Ornery [Dm] Consul and Live and [Bb] Let Die, [C] which was scored and arranged by [F] George Martin.
_ [Bb] Here they [C] adopted the same [F] technique they've used over the years, _ McCartney [Gm] providing the musical outline [C] and composition, with [F] George Martin [Bb] scoring, shaping [C] and [Gm] producing the performance.
[C] Play this just with the [F] original guitar, [Bb] just not _ _ [Cm] too_
[F] _
_ _ yeah, a bit more original.
[Bb] _ _
_ _ [C] _ _ _ _ [Fm] _ _
_ _ [Bb] _ _ [C] It's [Dm] very high up the neck, [Bb] can't really get [C] my fingers to [F] work.
I don't think it matters playing that middle, [G] I don't think it'll get in the way of the harpsichord anyway.
_ _ But _ I'll work something out. _ _
_ _ _ George Martin's association with McCartney began in 1962. _ _
In eight years [Em] he produced every record the Beatles made, [G] including 17 number one hits.
_ His production became an integral part of their success. _ _ _
Cut a lot of lads. _ _ _ _ _
_ _ _ _ [C] _ _ _ _
_ _ [Ab] _ [F] _ _ With the [C] demise of the Beatles in _ [F] 1970, Martin [Bb] never expected to work with any [C] of them again.
_ [Fm] It came as a [Bb] surprise when eight years later, [C] after Wings, [Fm] _ McCartney approached him to work on his new [Gm] solo LP, Tug [C] of War, and [F]
subsequently _ [Bb] Broad Street.
_ [C] _ _ [F] _
_ _ _ _ _ _ _ [C] _
_ _ [D] _ _ _ _ [A] _ _
_ _ [Bb] _ _ _ _ [F] Well, [Ab] one of the things that worried me when we started working [G] together, and I said this before we actually_
And then I'd sit down with George and show him the video and say, this is what I think.
_ _ And I'd say, well I see cellos doing that bit.
_ [C] And he'd say, well wait a minute, [Fm] you've just gone out of the cello range, so we'll bring it up [Em] a little bit and we'll have the violas do that.
That technical information I need off George, because _ _ _ if a top note on a French [Db] horn is F, I want to hear him play a G.
_ [G] _ _ _
_ _ I've got a problem _ _ _ _ _ _ _ _ _ _
with all the hi-fi stuff I'm putting.
_ Can you play this with no eight kilohertz in?
_ _ Knock out everything.
Yeah, I'll show you, it's got a sound.
Can you give it just one cut?
As _ _ well as coming to grips with the technicalities of film music, _ McCartney saw [E] Broad Street as an opportunity [G] to experiment with new forms of composition. _ _
_ It's literally film going through a photoelectric cell.
And the adjustment can't