Chords for Steve Jablonsky - making of DESPERATE HOUSEWIVES Season 4 Soundtrack
Tempo:
142.8 bpm
Chords used:
Eb
Ebm
C
Db
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I've got millions of sounds, almost too many sounds.
[Eb] Steve comes up with amazing ideas.
He gets the show so much.
This show was kind of the biggest challenge I've had in my career.
He saw a lighter introduction into the [Ab] beginning.
It was supposed to be a beautiful day.
Kids should have been playing in the park.
We played [C] that music in the first playback for Mark.
[Eb] Mark said, I feel this music is too light.
I feel it's too fun.
I think it should be more ominous.
We called Steve that day and said, [Ebm] we want a thinner, more of an ominous note.
[C] He wrote a new piece of music and we put it in the next day.
[Db] In my orchestra for Desperate Housewives there are seven [E] string players.
[Ebm] I wanted [Gm] to have an intimate [Ebm] sound.
I want you to be able to hear each [Eb]
player.
[Ebm] The fight scene [Eb] with Victor and [Gbm] Carlos, the way it was described to me [Db] before I saw the episode,
was [Gbm] these two guys fight to the death.
My first inclination was, maybe we should get more than seven players on this episode.
[D] This is a big episode.
[Gb] Maybe for the first [Dbm] time we'll just go crazy, get 30 [A] string players and see what happens.
I hadn't seen the episode yet.
Then I saw it and I [E] knew immediately that would have been a bad idea.
The sound of everything from the pickets [Db] to the sound of them fighting,
the sound of the [Em] fountain falling, the pipe, all of those [Abm] sounds were so much part of the design [Fm] of that fight scene
that the music had to back away in certain places, had to come forward.
So he [D] knew that we were going to have a very complex sound design there.
I haven't seen the tornado.
I don't know what it looks [Ab] like.
I don't know what it's going to sound like.
And a big part of what I do is trying to fit in with the sound, me scoring things that [C] weren't there.
So you just kind of have to imagine it.
That was sort of the challenge for me.
[A] Great.
[Abm] Nice job.
3M16.
[N]
[Eb] Steve comes up with amazing ideas.
He gets the show so much.
This show was kind of the biggest challenge I've had in my career.
He saw a lighter introduction into the [Ab] beginning.
It was supposed to be a beautiful day.
Kids should have been playing in the park.
We played [C] that music in the first playback for Mark.
[Eb] Mark said, I feel this music is too light.
I feel it's too fun.
I think it should be more ominous.
We called Steve that day and said, [Ebm] we want a thinner, more of an ominous note.
[C] He wrote a new piece of music and we put it in the next day.
[Db] In my orchestra for Desperate Housewives there are seven [E] string players.
[Ebm] I wanted [Gm] to have an intimate [Ebm] sound.
I want you to be able to hear each [Eb]
player.
[Ebm] The fight scene [Eb] with Victor and [Gbm] Carlos, the way it was described to me [Db] before I saw the episode,
was [Gbm] these two guys fight to the death.
My first inclination was, maybe we should get more than seven players on this episode.
[D] This is a big episode.
[Gb] Maybe for the first [Dbm] time we'll just go crazy, get 30 [A] string players and see what happens.
I hadn't seen the episode yet.
Then I saw it and I [E] knew immediately that would have been a bad idea.
The sound of everything from the pickets [Db] to the sound of them fighting,
the sound of the [Em] fountain falling, the pipe, all of those [Abm] sounds were so much part of the design [Fm] of that fight scene
that the music had to back away in certain places, had to come forward.
So he [D] knew that we were going to have a very complex sound design there.
I haven't seen the tornado.
I don't know what it looks [Ab] like.
I don't know what it's going to sound like.
And a big part of what I do is trying to fit in with the sound, me scoring things that [C] weren't there.
So you just kind of have to imagine it.
That was sort of the challenge for me.
[A] Great.
[Abm] Nice job.
3M16.
[N]
Key:
Eb
Ebm
C
Db
Ab
Eb
Ebm
C
I've got millions of sounds, almost too many sounds.
_ _ _ _ _ [Eb] Steve comes up with _ amazing ideas.
He gets the show so much.
This show was kind of the biggest challenge _ I've had in my career.
He saw a lighter introduction into the [Ab] beginning.
It was supposed to be a beautiful day. _ _ _
Kids should have been playing in the park.
We played [C] that music in the first playback for Mark.
[Eb] Mark said, I feel this music is too light.
I feel it's too fun.
I think it should be more ominous.
We called Steve that day and said, [Ebm] we want a thinner, more of an ominous note.
_ _ _ _ _ _ _ _
_ [C] He wrote a new piece of music and we put it in the next day.
[Db] In my orchestra for Desperate Housewives there are seven [E] string players.
[Ebm] _ _ _ I wanted [Gm] to have an intimate [Ebm] sound.
I want you to be able to hear each _ [Eb]
player.
_ _ [Ebm] _ The fight scene [Eb] with Victor and [Gbm] Carlos, the way it was described to me [Db] before I saw the episode,
was [Gbm] these two guys fight to the death.
My first inclination was, maybe we should get more than seven players on this episode.
[D] This is a big episode.
[Gb] Maybe for the first [Dbm] time we'll just go crazy, get 30 [A] string players and see what happens.
I hadn't seen the episode yet.
Then I saw it and I [E] knew immediately that would have been a bad idea.
The sound of everything from the pickets [Db] to the sound of them fighting,
the sound of the _ [Em] fountain falling, the pipe, all of those [Abm] sounds were so much part of the design [Fm] of that fight scene
that the music had to back away in certain places, had to come forward.
So he _ [D] knew that we were going to have a very complex sound design there.
I haven't seen the tornado.
I don't know what it looks [Ab] like.
I don't know what it's going to sound like. _ _ _ _
And a big part of what I do is trying to fit in with the sound, me scoring things that [C] weren't there.
So you just kind of have to imagine it.
That was sort of the challenge for me. _ _
_ _ _ _ _ _ [A] Great.
[Abm] Nice job.
3M16.
_ [N] _ _ _
_ _ _ _ _ [Eb] Steve comes up with _ amazing ideas.
He gets the show so much.
This show was kind of the biggest challenge _ I've had in my career.
He saw a lighter introduction into the [Ab] beginning.
It was supposed to be a beautiful day. _ _ _
Kids should have been playing in the park.
We played [C] that music in the first playback for Mark.
[Eb] Mark said, I feel this music is too light.
I feel it's too fun.
I think it should be more ominous.
We called Steve that day and said, [Ebm] we want a thinner, more of an ominous note.
_ _ _ _ _ _ _ _
_ [C] He wrote a new piece of music and we put it in the next day.
[Db] In my orchestra for Desperate Housewives there are seven [E] string players.
[Ebm] _ _ _ I wanted [Gm] to have an intimate [Ebm] sound.
I want you to be able to hear each _ [Eb]
player.
_ _ [Ebm] _ The fight scene [Eb] with Victor and [Gbm] Carlos, the way it was described to me [Db] before I saw the episode,
was [Gbm] these two guys fight to the death.
My first inclination was, maybe we should get more than seven players on this episode.
[D] This is a big episode.
[Gb] Maybe for the first [Dbm] time we'll just go crazy, get 30 [A] string players and see what happens.
I hadn't seen the episode yet.
Then I saw it and I [E] knew immediately that would have been a bad idea.
The sound of everything from the pickets [Db] to the sound of them fighting,
the sound of the _ [Em] fountain falling, the pipe, all of those [Abm] sounds were so much part of the design [Fm] of that fight scene
that the music had to back away in certain places, had to come forward.
So he _ [D] knew that we were going to have a very complex sound design there.
I haven't seen the tornado.
I don't know what it looks [Ab] like.
I don't know what it's going to sound like. _ _ _ _
And a big part of what I do is trying to fit in with the sound, me scoring things that [C] weren't there.
So you just kind of have to imagine it.
That was sort of the challenge for me. _ _
_ _ _ _ _ _ [A] Great.
[Abm] Nice job.
3M16.
_ [N] _ _ _