Chords for A masterclass with Tommy Emmanuel at Maton Guitars - Interview

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[E] My life is in these guitars.
They're the biggest part of my life.
_ As long as I've been playing, I've always played a Maiden.
_ [Abm] _ _ [A] [Bb] In [Abm] the original MS500, I wore the frets out after plugging it for 10 years.
_ _ _ _ We had an accident [G] with it and it flew [E] off the top of the car and hit the road. _
_ It came out of the case and everything. _ _
Maiden have restored it for me, so it's [B] perfect again.
It's totally playable [Abm] and it looks like it did when my father [D] gave it to me in [E] 1960.
When [F] I walk [Bm] past it, [C] there's my childhood in that guitar.
That's the guitar [E] I play every night.
This guitar and the one that [G] came before this [C] are a big part of my [B] life. _ _
[C] _ Without these guitars, [Ab] the songs wouldn't have come.
Without [E] the songs, the people wouldn't come to see me play.
It's all about [B] the quality of the music.
[Abm] _ This is [C] my [E] writing guitar.
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_ _ [B] world is full of great guitar players.
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[Abm] _ _ I try [E] to stand out from the crowd by what I've got to say [G] musically.
_ _ [A] My songs are all honest [Gb] and they [Em] come from a real point [C] of inspiration.
_ [G] _ Basically, [B] I'm trying to entertain people [G] all over the world.
I'm trying to get the younger generation to see [E] that what I do is real.
It's a calling to [B] me.
_ _ [E] I've always known that I've had to take my [Abm] place in the line of players that stems way back [Dbm] to beyond Merle Travis.
[C] When I [Em] first heard Chet Atkins play, _ [Eb] I [Bm] knew at that moment that that's what [E] I wanted to do.
When Chet Atkins gave me the CGP, [F] it was a great honor and I was very moved.
_ But it's also a great responsibility as I come [Em] to realize that [Gm] I've got to do something with that.
Because on my [Em] award it says, for lifetime contribution [Ab] to the art of fingerstyle guitar.
Now that was _ 11 or [Em] 12 years ago.
[B] I'm trying to _ [Abm] leave a legacy of, first [E] of all, good songs.
That's what I'm [Bm] trying to write, good songs.
That's my number one priority.
And [E] just trying to show the younger generation that you don't need a lot of [Abm] pyrotechnics to turn people on.
You need to have some good songs.
And I hope that's [G] what I can give to them.
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[Ab] Another reason why I play these [G] guitars, _ it's [B] not just because the guitar is beautiful or great or has a wonderful action.
That's all part of it, of course.
[Bb] But [Ab] it has the best electronics in [F] any guitar in the world.
Nobody has a pickup system and a mic system like this guitar.
And it was [Gb] Jean Larrave, [Gbm] who, you know, [Ab] I don't know a guitar builder [G] who doesn't have a great respect for [Abm] Jean Larrave.
[B] And Jean said to me, [G] quite frankly, [Bb] building a great guitar is a no [G]-brainer.
[E] But getting the pickup right is nearly impossible.
So within these walls, you're doing the impossible. _ _ _ _ _
_ This is called Waiting for a Plane.
And I _ _ _ [B] _ _ [Am] wrote it while I was waiting for a plane.
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I was heading out on tour and I was [Ab] at Nashville Airport.
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