| Author | Message | ||
     Kurt Stephan Member Username: Slothbert Post Number: 40 Registered: 04-2005 |
This is probably a Peter A question, if he has time. I've been trying to figure out the chords to "Draining the Pool for You" and get a bit stuck after the first part of the opening progression, which seems to be mostly A to D, with a hop up to G# and back to A. After that part of the progression, the lead line comes in over the chords...but I can't figure out the chords underneath the lead (much less the lead part). Any tips? | ||
| Peter Azzopardi Member Username: Pete Post Number: 110 Registered: 09-2004 |
A (bar chord at 5th fret E-string), slide up to D bar chord at 10th fret. Twice, but chuck in a C#maj bar at the 9th fret before the D the second time. (I'm not sure where you're G# is suppossed to be Kurt). Then: F#m (root note at 9th fret on A-string) Emaj (root at 7th fret A-string). At the end of this the lead break comes in for a bar. Chorus: Emaj at 7th fret for three bars. Bmin (2nd fret A-string), D (5th fret), E (7th), Bmin, D, E, Bmin. . .("after this"). I think that's it. I hope I've been helpful. | ||
| Kurt Stephan Member Username: Slothbert Post Number: 41 Registered: 04-2005 |
Thanks for your help, Pete. I was hearing the G# where you have the C#maj (and I was playing the D as a bar chord on the 5th fret)...partly because I thought I saw Robert doing that when I saw them live. Maybe he was barring the C#maj on the 4th fret? By the way, I'm the same person as Rare Breed (my pre-registration name), who was hearing a chord differently from you in "Caroline and I." So I have a track record of getting these things wrong! I have to say that these songs look a lot harder when you transcribe them than I imagine them being when listening to the recordings. Do you think G&R are more skilled musicians/composers than a lot of people give them credit for? | ||
| Peter Azzopardi Member Username: Pete Post Number: 111 Registered: 09-2004 |
No worries, Kurt. You're not necessarily wrong, as I'm not necessarily right. And, yes, my tabs do look like a musical trainwreck. I'm just too darn anal, I guess. It's a bit of a waste of time writing the timings, etc., when most people playing from tab will play to the tempo and note valueing that they hear in their head, which I encourage. In response to your question, I think G & R (if only we were talking about Guns 'n' Roses here, an early musical influence in my pre-teen bogan years) get their due credit. They're not great musos, but come up with some interesting hooks out of their technical limitations. Live, I think Robert's rhythm playing can be a bit too sloppy, but working out a song like "Caroline" I was amazed at how intrically woven the guitar strumming and drum pattern were: there's a restraint there in Robert's (I assume it's him) playing that is very difficult to pull off. Either Glenn is a great listener, or Robert is unusally sensitive to a drummer's nuances. Either way, this is what a tight band should do and is the reason why I think the new version of the group is such a great unit in general. Adele and Glenn are people any band in the world would be lucky to have. | ||
| Kurt Stephan Member Username: Slothbert Post Number: 42 Registered: 04-2005 |
Good points, Pete. And I agree on Adele and Glenn--I was really impressed by them at the recent show. I hope they keep this incarnation of the group together and make more albums, because A & G are making them better and better. Album #4 by GoBs Mk II: aren't they due for their "Liberty Belle"? >>or Robert is unusally sensitive to a drummer's nuances. Since Robert was involved with the drummer of GoBs Mk I for several years, I think he would be! |