Chords for 1969 Hermann Hauser II - Scott Tennant Plays the Romero Collection Pt. 2 - Classical Guitar at GSI

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_ _ Something to me, and I know to my father, that is a requirement for a great guitar is the ability to play classical or flamenco on any given guitar.
Any of the guitars you hear tonight will work perfectly for both. _ _
Here's a 1969 Herman Hauser II. _ _ _
It has five fan braces [Ab] and an _ _ interesting_
Traditionally, guitars have a brace coming across here.
This Hauser has a D brace.
It comes [N] to a point here.
It has a floating bar at _ _ _ _ _ _ _ _ the top.
It's a cedar top, rosewood body.
In 1969, my father went to [E] Herman's workshop, Herman II's workshop in Germany.
He played three guitars.
This was one of them.
My father fell [N] in love with this guitar.
_ _ _ _ _ He had a great dedication in the _ _ _ late_
Dedicating it to my father. _
_ _ _ He used it on tour a lot.
He recorded most of the Opera Fantasy CD on this guitar.
_ He also did use this guitar. _ _
This _ guitar_
These two here are survivors of a terrible car accident.
In 1970, about a year after my father got this guitar, he was driving through Colorado in the mountains.
_ _ The quartet had been on tour.
I think my grandfather was a couple of cars behind them.
It was my father, my mother, and then my two oldest sisters at the time, who were babies.
They went off the side of the mountain.
There were no guardrails.
_ They rolled maybe a dozen times and were stopped by a tree. _ _
_ _ _ _ _ _ _
Everyone escaped okay.
My mom had a badly broken arm. _
The guitar was missing.
I think it was the next day they pulled it out of the snow.
_ _ He got his guitar [G] back. _
_ _ _ [Bbm] _ _ _ _ _
[Gb] _ Incredible [Bbm] guitar.
_ _ [Gb] _
The next_
The cool thing_
_ Behind my father was my grandparents.
Behind them was a mountain [A] refugee team.
Just [Gb] happened to be there. _ _ _
So they got their equipment, climbed down [N] the mountain, and pulled him up. _ _
_ _ If I could say something as far as record cleats go,
that was the_
As Pepe said, the Opera Fantasies recording was done with this guitar for most of it.
There's a beautiful picture of Pepe on the back.
But one of the best pictures of Pepe, if you're recording with me,
is this picture right here.
He's kissing the guitar.
_ _ _ _ We're going to wipe the neck.
Yeah, yeah. _ _ _ _ _ _ _
_ _ _ [A] _ _ _ _ _
_ _ _ [A] _ _ _ _ _
_ [Gm] _ _ _ _ _ _ [A] _
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[C] _ _ _ _ _ _ _ [C] _
_ _ _ [Am] It's a pleasure to tune up a [D] guitar like this.
Just take your teeth.
_ [E] _ I first heard this_
I'd known about [B] this guitar, [G] but_
[Gb] I first heard this when [A] Pepe played at Ambassador Auditorium.
Anybody here remember [N] Ambassador Auditorium?
_ _ _ He played there with Jesse Norman, the famous opera singer.
And did pretty much the whole concert.
I think he took some [Ab] solos too, but_
He did the Faya songs with her on this.
And it was so powerful.
So [A] talk about being able to do flamenco as well as classical.
[D] I mean, there was a fair amount of [E] traditional [A] Spanish strumming.
_ _ [E] _ _
_ [D] _ _ _ So what I'll [B] play, actually, _ is_
_ _ _ The first time I ever heard a Hauser, ever, was on a Segovia recording.
_ And I forget the name of the recording.
I still have [Ab] the LP.
But on the recording, he's playing a Hauser.
_ [Bb] And_ _ _ _
[N] And this piece particularly struck me.
It's a piece that he wrote.
It's called Estudio Sin [E] Luz.
_ [C] _ _ _
[E] _ _ He was recuperating [A] from eye surgery at the time.
[D] He was rather down.
He _
[E] _ _ _ wrote this very beautiful little [N] piece.
I'll try to remember it.
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[Gb] _ _ _ [F] Estudio _ [Gb] _ _
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_ [E] _ _ [Em] _ _ _ [A] _ [G] _
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[B] _ _ _ [E] _ [Dbm] _ _ [Bm] _ _
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