Chords for "Steve Howe" of "Yes" with Bob Miles www.milesofmusic.tv

Do you feel you play differently depending on which guitar you're playing?
Yeah, there is an element of potential, if you like, that comes out.
One of the reasons I stopped playing this, my favorite guitar, was because
I've been playing it for about six years solidly, exclusively, almost without_
I've had a Gaia Tone, maybe a Burns, and an Acoustic, but
I had a few little guitars in the 60s, but I mainly played this and I got tired of it.
I looked at it and kind of went, oh well, I'm here again.
And after the Yes album, which I thought was a fantastic record,
I really, _ misguidedly or not, I was still searching for the sound.
And one of the great things that lessons this taught me,
is it's very zen to realize that you spend years searching for something
and find you've already got it, and I already had it.
So all this searching across _ [D] Switchmasters and L-5s and [A] stereo guitars
and [Bm] then [A] Telecasters and Stratocasters.
[D] In [A] the 70s I basically played more Rickenbackers as well.
And I did that because I wanted to make sure, well that's a lie really,
I was still searching for the sound I already had.
And when I came back to this to do lead breaks and [Fm] solos,
which I did very often on those records, and [Dm] Heart of the Sunrise was on this,
and various parts of, lots [Ab] of Yes albums were after the Yes album. _
I found that I always came back to this because I played this guitar best,
and I actually liked the sound of this much more than other guitars that I'd had.
So even though I like my Fender periods, and I love playing,
the one sound I can't get quite right on stage,
is that this doesn't sound like my Switchmaster when [D] I play. _ _ _ _
_ _ _ _ _ _ [Bb] _ _
[Em] _ _ _ [D] _ It doesn't sound like it, and that's disappointing.
So to get the actual sound that I used on that, I had to use that guitar,
because a three pickup Gibson with an all switch, an all position,
will give you the sound I got there, which is, I call it gulpy.
It's got a sort of hollowness in the middle, which is great, it's a great sound.
But [B] you can't get it on this guitar.
_ _ [E] _
_ _ [Ab] I'm experimenting with 3G ADA, because although at first I really liked it,
I thought it was a threatening kind of idea to have a virtual guitar in a box
that you could select all these sounds.
But actually it's me, it's got my name written on it, it's the kind of thing I do like.
So after years of [B] advocating more of a [Am] straight guitar sound,
a guitar [A] in amp sort of sound, I'm now building into it,
in the future I will be using 3G more.
And I like it a hell of a lot, because [E] I've realised just how sensitive it is,
and how subtle it can be.
And how when I record it, I get sounds that I really, really like.
Instead of going to the Les Paul, I can stay with this guitar,
and it comes out sounding just like a Les [A] Paul.
And for those reasons, not just that one alone,
but for those kind of reasons, getting the sound you want easily from one guitar,
multiple of sounds, it's really great when you're playing one guitar,
and the sound is so apparently, distinctly [Bbm] unlike the guitar you're playing.
_ [Abm] _ _ _ _ _ _ _
[Gb] _ _ [Abm] _ _ _ _ [E] Things about all instruments, it's not so much how you play things, or [D] what you play,
but it's all about sound. _ _ _ _ _ _
_ And the sound, [B] the tone, the tonality, the timbre of the guitar, is what appeals to me.
_ [A] _ _ _ _
[Abm] _ I think a [Ab] guitar has to be beautiful.
Music, sorry, but I'm going to say something really unpopular now,
music [Em] has to be beautiful, otherwise don't [Dm] play it to me. _
_ _ _ _ _ _ [G] I'll give you a good tip, just to end on, it's a kind of classical tip.
This relates to classicalisms about the guitar, but the tendency,
we want to go out and play, you know, that's the first thing,
you get the opportunity, you're playing.
But if you can come back from that, and hold back from that,
instead of playing like this, [Cm] _ _ you play like this, _ _ _ [Bb] _ _ _ [Cm] you see [Eb] me smile.
I can tell this is music.
This isn't quite so [E] musical to me.
So when I play a piece I did last night, called In the Course of a Day,
and if I can play that, understated enough, I've got all the power I need.
You will feel, as a guitarist, you will feel the power you have,
but [Gb] only when you take that power, [E] not when you're driven by it.
If you're just driven by the power, you'll play hard [D] down, nose down, raving.
But sometimes, particularly if you're playing a solo,
and you get lucky to be invited to play on your own,
that's when you'll remember what I've said, and it's good advice.
You've got to let the instrument play you more than you play it,
because there's no sound in the guitar when you play it.
When you let the guitar sing, rock, roll, on its own,
[C] then you get the sound you want, and you get the control you need,
[F] to create dynamics.
Because playing [C] without dynamics is a yawn, you know.
It's just too boring for words, so you've got to get dynamics in your playing,
and to do that, you have to [D] actually get a relationship going
with the dynamics of the guitar.
So, Mood for a Day was a great example of that,
how I had to, all at once, really, record a Spanish guitar,
not something I've done a great deal of, ever in my life.
And I had to try and play it gently.
I probably play Mood for a Day gentlier than I did on the recording,
because I've learnt more about the tone that I want.
[B] So, it's all about having some room, [Gb] somewhere to [G] go.
It's like a car, if you get it and you just drive it 70 miles an hour,
that's it, but you do have to get there.
You have to get up to [A] speed, and I think, for a [Dm] musician,