Chords for Yamaha Silent Guitar – Mike Stern
Tempo:
86.85 bpm
Chords used:
C
F
B
G
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Dbm] [F]
[C] [B] [C] [Bm] [Em]
[D] [A] [F] Hi, [Bb] this is Mike [C] Stern, [Gm] and I'm at Spin Studios [A] in Long Island City, not too far [G] from where I live, which is New York City.
I'm checking out this SLG [E] 200N, [G] and it's [C] really smoky.
[Bm] [C]
[N] When I play different guitars, it definitely can bring something else out.
Right away when I play an acoustic guitar, it's kind of more lyrical.
I'm in the middle of writing a ballad that day.
As soon as I got this in the mail, I picked it up and I went,
wow, man, this thing sounds pretty cool.
And then I kind of got away from the guitar totally, but kind of was into it in a kind of a natural [B] way.
I always try to get a kind of a softer pick sound.
This guitar has that kind of naturally because it's a nylon string, so it sounds warmer right away.
So the pickup is a little bit more, you get more articulation, a little bit more point on [C] the sound.
[F] [C] [A]
[C] Here is the blend.
[Em] [B] [C]
[B] When you add a little bit more microphone, you get that warmer kind of sound.
I can play bebop kind of lines on this.
A [Bb] little [C]
reverb [B] on it.
[Gb] This thing's lit.
This is an improvement on something that was already very good, in my opinion, and it really sounds cool.
[A] To [C] me, really wonderful.
[Bm]
[G] [B] [G] [C]
[Bm] I think about music as a language.
You're shy at first, generally.
You're scared about mispronouncing a word.
And you're very self-conscious when you're learning a new language.
When you're fluent in a language, it just becomes easy.
You're not thinking about the words.
You're not thinking about verb conjugation.
[Gb] You're not thinking about the spelling.
It just pops out.
You know, the words come out and you can rephrase it.
If someone says, I didn't really understand, can you put that in a different way?
You can pull back and rephrase it probably three or four different ways.
I think any way you learn any kind of language eventually is by speaking it.
If it's a verbal language, you speak it and make a lot of mistakes.
And you listen to people that are more fluent in that language.
What I've been doing for the last bunch of years is not guitar players.
You know, I'll transcribe some horn players or piano [C] players and try to get some of that [Eb] [Dm] phrasing
and those kind of ideas on the guitar.
And it [C] gradually sinks [G] in in a fluent way, [E] in an unconscious kind of way.
[F] [G] [Ab] [A] [Db] [Dm]
[Eb] [D] [Cm] [Gm] [F] [Eb]
[Dm] [Cm] [Bb] [F] [Gm] [N]
[C] [B] [C] [Bm] [Em]
[D] [A] [F] Hi, [Bb] this is Mike [C] Stern, [Gm] and I'm at Spin Studios [A] in Long Island City, not too far [G] from where I live, which is New York City.
I'm checking out this SLG [E] 200N, [G] and it's [C] really smoky.
[Bm] [C]
[N] When I play different guitars, it definitely can bring something else out.
Right away when I play an acoustic guitar, it's kind of more lyrical.
I'm in the middle of writing a ballad that day.
As soon as I got this in the mail, I picked it up and I went,
wow, man, this thing sounds pretty cool.
And then I kind of got away from the guitar totally, but kind of was into it in a kind of a natural [B] way.
I always try to get a kind of a softer pick sound.
This guitar has that kind of naturally because it's a nylon string, so it sounds warmer right away.
So the pickup is a little bit more, you get more articulation, a little bit more point on [C] the sound.
[F] [C] [A]
[C] Here is the blend.
[Em] [B] [C]
[B] When you add a little bit more microphone, you get that warmer kind of sound.
I can play bebop kind of lines on this.
A [Bb] little [C]
reverb [B] on it.
[Gb] This thing's lit.
This is an improvement on something that was already very good, in my opinion, and it really sounds cool.
[A] To [C] me, really wonderful.
[Bm]
[G] [B] [G] [C]
[Bm] I think about music as a language.
You're shy at first, generally.
You're scared about mispronouncing a word.
And you're very self-conscious when you're learning a new language.
When you're fluent in a language, it just becomes easy.
You're not thinking about the words.
You're not thinking about verb conjugation.
[Gb] You're not thinking about the spelling.
It just pops out.
You know, the words come out and you can rephrase it.
If someone says, I didn't really understand, can you put that in a different way?
You can pull back and rephrase it probably three or four different ways.
I think any way you learn any kind of language eventually is by speaking it.
If it's a verbal language, you speak it and make a lot of mistakes.
And you listen to people that are more fluent in that language.
What I've been doing for the last bunch of years is not guitar players.
You know, I'll transcribe some horn players or piano [C] players and try to get some of that [Eb] [Dm] phrasing
and those kind of ideas on the guitar.
And it [C] gradually sinks [G] in in a fluent way, [E] in an unconscious kind of way.
[F] [G] [Ab] [A] [Db] [Dm]
[Eb] [D] [Cm] [Gm] [F] [Eb]
[Dm] [Cm] [Bb] [F] [Gm] [N]
Key:
C
F
B
G
A
C
F
B
[Dbm] _ _ _ _ _ _ _ [F] _
[C] _ _ _ [B] _ _ [C] _ [Bm] _ [Em] _
[D] _ [A] _ _ [F] Hi, [Bb] this is Mike [C] Stern, [Gm] and I'm at Spin Studios [A] in Long Island City, not too far [G] from where I live, which is New York City.
I'm checking out this SLG [E] 200N, [G] and it's [C] really smoky.
[Bm] _ [C] _ _ _ _
[N] When I play different guitars, it definitely can bring something else out.
Right away when I play an acoustic guitar, it's kind of more lyrical.
I'm in the middle of writing a ballad that day.
As soon as I got this in the mail, I picked it up and I went,
wow, man, this thing sounds pretty cool.
And then I kind of got away from the guitar totally, but kind of was into it in a kind of a natural [B] way.
I always try to get a kind of a softer pick sound.
This guitar has that kind of naturally because it's a nylon string, so it sounds warmer right away.
So the pickup is a little bit more, you get more articulation, a little bit more point on [C] the sound.
_ [F] _ _ [C] _ _ [A] _
[C] Here is the blend.
[Em] _ _ [B] _ [C] _ _
_ _ [B] When you add a little bit more microphone, you get that warmer kind of sound.
I can play bebop kind of lines on this. _ _
_ A [Bb] little [C] _ _ _
reverb [B] on it.
[Gb] This thing's lit.
This is an improvement on something that was already very good, in my opinion, and it really sounds cool.
[A] To [C] me, really wonderful.
_ _ _ _ [Bm] _
_ [G] _ _ [B] _ _ _ [G] _ [C] _
[Bm] _ _ I think about music as a language.
You're shy at first, generally.
You're scared about mispronouncing a word.
And you're very self-conscious when you're learning a new language.
When you're fluent in a language, it just becomes easy.
You're not thinking about the words.
You're not thinking about verb conjugation.
[Gb] You're not thinking about the spelling.
It just pops out.
You know, the words come out and you can rephrase it.
If someone says, I didn't really understand, can you put that in a different way?
You can pull back and rephrase it probably three or four different ways.
I think any way you learn any kind of language eventually is by speaking it.
If it's a verbal language, you speak it and make a lot of mistakes.
And you listen to people that are more fluent in that language.
What I've been doing for the last bunch of years is not guitar players.
You know, I'll transcribe some horn players or piano [C] players and try to get some of that [Eb] _ [Dm] _ phrasing
and those kind of ideas on the guitar.
And it [C] gradually sinks [G] in in a fluent way, [E] in an unconscious kind of way.
[F] _ _ [G] _ [Ab] _ [A] _ [Db] _ [Dm] _ _ _
[Eb] _ [D] _ [Cm] _ _ _ [Gm] _ [F] _ [Eb] _
[Dm] _ [Cm] _ [Bb] _ [F] _ [Gm] _ _ _ [N] _
[C] _ _ _ [B] _ _ [C] _ [Bm] _ [Em] _
[D] _ [A] _ _ [F] Hi, [Bb] this is Mike [C] Stern, [Gm] and I'm at Spin Studios [A] in Long Island City, not too far [G] from where I live, which is New York City.
I'm checking out this SLG [E] 200N, [G] and it's [C] really smoky.
[Bm] _ [C] _ _ _ _
[N] When I play different guitars, it definitely can bring something else out.
Right away when I play an acoustic guitar, it's kind of more lyrical.
I'm in the middle of writing a ballad that day.
As soon as I got this in the mail, I picked it up and I went,
wow, man, this thing sounds pretty cool.
And then I kind of got away from the guitar totally, but kind of was into it in a kind of a natural [B] way.
I always try to get a kind of a softer pick sound.
This guitar has that kind of naturally because it's a nylon string, so it sounds warmer right away.
So the pickup is a little bit more, you get more articulation, a little bit more point on [C] the sound.
_ [F] _ _ [C] _ _ [A] _
[C] Here is the blend.
[Em] _ _ [B] _ [C] _ _
_ _ [B] When you add a little bit more microphone, you get that warmer kind of sound.
I can play bebop kind of lines on this. _ _
_ A [Bb] little [C] _ _ _
reverb [B] on it.
[Gb] This thing's lit.
This is an improvement on something that was already very good, in my opinion, and it really sounds cool.
[A] To [C] me, really wonderful.
_ _ _ _ [Bm] _
_ [G] _ _ [B] _ _ _ [G] _ [C] _
[Bm] _ _ I think about music as a language.
You're shy at first, generally.
You're scared about mispronouncing a word.
And you're very self-conscious when you're learning a new language.
When you're fluent in a language, it just becomes easy.
You're not thinking about the words.
You're not thinking about verb conjugation.
[Gb] You're not thinking about the spelling.
It just pops out.
You know, the words come out and you can rephrase it.
If someone says, I didn't really understand, can you put that in a different way?
You can pull back and rephrase it probably three or four different ways.
I think any way you learn any kind of language eventually is by speaking it.
If it's a verbal language, you speak it and make a lot of mistakes.
And you listen to people that are more fluent in that language.
What I've been doing for the last bunch of years is not guitar players.
You know, I'll transcribe some horn players or piano [C] players and try to get some of that [Eb] _ [Dm] _ phrasing
and those kind of ideas on the guitar.
And it [C] gradually sinks [G] in in a fluent way, [E] in an unconscious kind of way.
[F] _ _ [G] _ [Ab] _ [A] _ [Db] _ [Dm] _ _ _
[Eb] _ [D] _ [Cm] _ _ _ [Gm] _ [F] _ [Eb] _
[Dm] _ [Cm] _ [Bb] _ [F] _ [Gm] _ _ _ [N] _