Chords for The One Song Weyes Blood Wishes She Wrote
Tempo:
132.65 bpm
Chords used:
G
E
F#
B
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I'm Natalie from Wise Blood, and if I could have written any song, it would have been
Stardust [F#] by Hoagy Carmichael.
[F#]
[F#m] When I first heard Stardust, [N] I was a child, and Nat King Cole was on heavy rotation in my household.
I think Nat King Cole mastered the song.
I think he took it to the next level that Hoagy probably wanted to take it, and the
arrangements are insane, and just the little [G] melodies that he changes are just transcendent,
and he's got the best pipes.
And now the purple dusk [C] of twilight time [B] steals across the meadows [E] of my heart.
Music [B] and melody to me are emotions, so if you could use them as if they were like colors
on a canvas, you're [F] painting in such a way as to reflect the emotions that you're trying to portray.
And a lot of the chord changes in that song, the tension, the longingness, I don't know,
you can kind of feel those lonely nights, you know, and beside the garden wall, and
just all the poetry in that song I feel really sets the mood for the melodies to kind of
carry you back into some nostalgic kind of place, long lost.
Dreaming of a song, [G]
the melody [G] [E] haunts my reverie.
[E] As a songwriter, the fact that it talks about the [F#] song itself being haunted by the reverie
of a melody, I mean like that's just something everybody can relate to.
If only we could put our suffering and our longing into something as beautiful and complete
as a song, you know?
I think being a song about a song is, that's meta, but what else is also meta is how stardust,
we're all created from stardust, you know, and to think that love would fade away into
stardust and kind of evaporate and float up into the sky, to me it's like we are a song
as humans about a song, which is the universe, and stardust is, you know, kind of how we
evaporate into the chaos, and I feel like love, especially love that's fallen away and
is no longer there, in a lot of ways is the closest we can get to some kind of meaningful
connection with something astral and larger than ourselves, so when it goes away, of course
it would [A] just collapse into stardust, like back into the fold, the cosmic fold.
Now my [D] consolation is in [A] the stardust of a song.
[G] If I wrote a song that was [E] that ubiquitous and, you know, was proliferated all over the
world and in movies and everything, I would feel [G] that I had completed my mission on the
planet, and I think Hoagy Carmichael probably felt [E] that after he wrote that song, like,
you complete a mission [D#] as a musician when you can finally kind of distill the essence
[Cm] of suffering into something, you know, gorgeous.
[G]
Stardust [F#] by Hoagy Carmichael.
[F#]
[F#m] When I first heard Stardust, [N] I was a child, and Nat King Cole was on heavy rotation in my household.
I think Nat King Cole mastered the song.
I think he took it to the next level that Hoagy probably wanted to take it, and the
arrangements are insane, and just the little [G] melodies that he changes are just transcendent,
and he's got the best pipes.
And now the purple dusk [C] of twilight time [B] steals across the meadows [E] of my heart.
Music [B] and melody to me are emotions, so if you could use them as if they were like colors
on a canvas, you're [F] painting in such a way as to reflect the emotions that you're trying to portray.
And a lot of the chord changes in that song, the tension, the longingness, I don't know,
you can kind of feel those lonely nights, you know, and beside the garden wall, and
just all the poetry in that song I feel really sets the mood for the melodies to kind of
carry you back into some nostalgic kind of place, long lost.
Dreaming of a song, [G]
the melody [G] [E] haunts my reverie.
[E] As a songwriter, the fact that it talks about the [F#] song itself being haunted by the reverie
of a melody, I mean like that's just something everybody can relate to.
If only we could put our suffering and our longing into something as beautiful and complete
as a song, you know?
I think being a song about a song is, that's meta, but what else is also meta is how stardust,
we're all created from stardust, you know, and to think that love would fade away into
stardust and kind of evaporate and float up into the sky, to me it's like we are a song
as humans about a song, which is the universe, and stardust is, you know, kind of how we
evaporate into the chaos, and I feel like love, especially love that's fallen away and
is no longer there, in a lot of ways is the closest we can get to some kind of meaningful
connection with something astral and larger than ourselves, so when it goes away, of course
it would [A] just collapse into stardust, like back into the fold, the cosmic fold.
Now my [D] consolation is in [A] the stardust of a song.
[G] If I wrote a song that was [E] that ubiquitous and, you know, was proliferated all over the
world and in movies and everything, I would feel [G] that I had completed my mission on the
planet, and I think Hoagy Carmichael probably felt [E] that after he wrote that song, like,
you complete a mission [D#] as a musician when you can finally kind of distill the essence
[Cm] of suffering into something, you know, gorgeous.
[G]
Key:
G
E
F#
B
A
G
E
F#
I'm Natalie from Wise Blood, and if I could have written any song, it would have been
Stardust [F#] by Hoagy Carmichael. _ _
_ _ _ _ _ _ _ [F#] _
_ _ _ [F#m] _ _ _ When I first heard Stardust, [N] I was a child, and Nat King Cole was on heavy rotation in my household.
I think Nat King Cole mastered the song.
I think he took it to the next level that Hoagy probably wanted to take it, and the
arrangements are insane, and just the little [G] melodies that he changes are just transcendent,
and he's got the best pipes.
And now the purple dusk [C] of twilight time _ _ [B] steals across the meadows [E] of my heart. _ _
Music [B] and melody to me are emotions, so if you could use them as if they were like colors
on a canvas, you're [F] painting in such a way as to reflect the emotions that you're trying to portray.
And a lot of the chord changes in that song, the tension, the longingness, I don't know,
you can kind of feel _ those lonely nights, you know, and beside the garden wall, and
just all the poetry in that song I feel really sets the mood for the melodies to kind of
carry you back into some nostalgic kind of place, long lost.
Dreaming of a song, _ _ [G] _
the melody [G] _ _ _ [E] haunts my reverie.
[E] _ As a songwriter, the fact that it talks about the [F#] song itself being haunted by the reverie
of a melody, I mean like that's just something everybody can relate to.
If only we could put our suffering and our longing into something as beautiful and complete
as a song, you know?
I think being a song about a song is, that's meta, but what else is also meta is how stardust,
we're all created from stardust, you know, and to think that love would fade away into
stardust and kind of evaporate and float up into the sky, to me it's like we are a song
as humans about a song, which is the universe, and stardust is, you know, kind of how we
evaporate into the chaos, and I feel like love, especially love that's fallen away and
is no longer there, in a lot of ways is the closest we can get to some kind of meaningful
_ connection with something astral and larger than ourselves, so when it goes away, of course
it would [A] just collapse into stardust, like back into the fold, the cosmic fold. _
Now my _ [D] consolation _ is in [A] the stardust of a song.
[G] If I wrote a song that was [E] that ubiquitous and, you know, was _ proliferated all over the
world and in movies and everything, I would feel [G] that I had completed my mission on the
planet, and I think Hoagy Carmichael probably felt [E] that after he wrote that song, like,
you complete a mission [D#] as a musician when you can finally kind of distill the essence
[Cm] of suffering into something, you know, gorgeous.
_ [G] _ _ _ _ _ _ _ _ _ _ _ _ _ _
Stardust [F#] by Hoagy Carmichael. _ _
_ _ _ _ _ _ _ [F#] _
_ _ _ [F#m] _ _ _ When I first heard Stardust, [N] I was a child, and Nat King Cole was on heavy rotation in my household.
I think Nat King Cole mastered the song.
I think he took it to the next level that Hoagy probably wanted to take it, and the
arrangements are insane, and just the little [G] melodies that he changes are just transcendent,
and he's got the best pipes.
And now the purple dusk [C] of twilight time _ _ [B] steals across the meadows [E] of my heart. _ _
Music [B] and melody to me are emotions, so if you could use them as if they were like colors
on a canvas, you're [F] painting in such a way as to reflect the emotions that you're trying to portray.
And a lot of the chord changes in that song, the tension, the longingness, I don't know,
you can kind of feel _ those lonely nights, you know, and beside the garden wall, and
just all the poetry in that song I feel really sets the mood for the melodies to kind of
carry you back into some nostalgic kind of place, long lost.
Dreaming of a song, _ _ [G] _
the melody [G] _ _ _ [E] haunts my reverie.
[E] _ As a songwriter, the fact that it talks about the [F#] song itself being haunted by the reverie
of a melody, I mean like that's just something everybody can relate to.
If only we could put our suffering and our longing into something as beautiful and complete
as a song, you know?
I think being a song about a song is, that's meta, but what else is also meta is how stardust,
we're all created from stardust, you know, and to think that love would fade away into
stardust and kind of evaporate and float up into the sky, to me it's like we are a song
as humans about a song, which is the universe, and stardust is, you know, kind of how we
evaporate into the chaos, and I feel like love, especially love that's fallen away and
is no longer there, in a lot of ways is the closest we can get to some kind of meaningful
_ connection with something astral and larger than ourselves, so when it goes away, of course
it would [A] just collapse into stardust, like back into the fold, the cosmic fold. _
Now my _ [D] consolation _ is in [A] the stardust of a song.
[G] If I wrote a song that was [E] that ubiquitous and, you know, was _ proliferated all over the
world and in movies and everything, I would feel [G] that I had completed my mission on the
planet, and I think Hoagy Carmichael probably felt [E] that after he wrote that song, like,
you complete a mission [D#] as a musician when you can finally kind of distill the essence
[Cm] of suffering into something, you know, gorgeous.
_ [G] _ _ _ _ _ _ _ _ _ _ _ _ _ _
Facts about this song