Chords for Al Di Meola Lesson

_ _ _ _ _ _ _ _
_ I developed my rhythm _ _ just from practicing playing rhythm.
And I thought it can carry over into playing the guitar.
So I would, _ while in school, all those years in school,
I would tap my foot under the desk.
Just play rhythms on top of the desk. _ _
And the idea is to not actually move where the time is
and play against it.
So I might play, [Gm] _
_ _ _ _ [G] _ _ _
you know, so all of that. _ _ _ _ _
_ _ _ _ _ _ _ _
You know what I mean?
And to develop the sense of _ when you play rhythms
so that this time doesn't speed up or slow down.
You know what I mean?
It's to really focus on the center.
_ And if you can do that, _ play off.
[Dm] _ [G] _ _ _ _
[Gm] _ _ _ _ _ [A] _ _ [E] _
[A] _ _ _ _ _ [G] You know what I mean?
None of any of what I just played here [Cm] will be cool or make any sense
if this moves. _ _ _ _ _
_ _ _ _ _ [G] _ _ _
[Ab] _ _ [G] _ _ _ _ _ _
_ [F] _ _ [G] _ [Fm] _ [G] _ _ [Cm] _
_ _ _ [B] _ _ _ _ [G] _
_ _ _ _ [Cm] _ [G] _ So those spaces are where [Bb] the player _ _ _ normally has a problem.
The spaces scare people.
[G] _ They scare musicians.
You know what I mean?
_ _ It's how you hold that time in those _ gaps. _ _
You know what I mean?
Because if you go off in the gap, then the listener gets jolted. _ _ _ _ _ _ _
_ _ [A] _ _ _ [G] _ _ [A] _
_ [G] _ _ _ _ _ _ _
_ _ [Em] _ _ _ _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Gbm] _ [D] _ _ _ _
_ [Db] _ _ _ [G] _ _ _ _
_ _ _ [A] _ [Em] _ _ _ _
_ _ _ _ _ [A] _ _ _
You _ know what I mean? _ _
_ _ That is key. _ _
And guitarists, if they can get that, or if they can find within them
that they have the ability to do that,
then what happens is you open up this door
to a tremendous variety of rhythms that are at your _ display.
_ _ Your ability to display, I should say.
You know what I mean? _ _ _ _ _ _
Like Chick always had that.
You know what I mean?
He found out he had it early on, and the way he plays rhythm _ _ is just _ superb.
Somebody goes, ba-bap, bap.
But it's all against that foot. _
A guitarist must be able to tap his foot when he plays.
_ A must.
Forget about every other lesson in the book.
You have to be able to tap your foot,
or if it's none of what you're doing,
you're not going to have any control of [F] your center. _ _
_ _ _ _ _ _ [Dm] _ _
[Am] _ _ _ _ [G] _ _ _ [Dm] _
_ _ _ _ [Am] _ _ [N] _
Now usually, you'll see a lot of players,
their foot will go off or they'll stop,
and then they'll try to come back in,
and they're not connected.
They're not connected to the center, to the heartbeat.
_ _ Problem.
It's a major, [G] major problem.
They don't know it's a problem, but it's a problem.
So what I suggest is taking the tempo way down and focusing on that.
That is more important than anything that you're ever doing up here. _ _ _ _ _ _ _
If I said I use alternate picking,
in this case, it's not really alternate picking.
Because if I were to use alternate,
you'll go one up, _ [D] one down.
It's very awkward.
And then to try to swing [G] back up and not hit the first or second [Bb] string
and then hit the third string is almost impossible.
[G] So when you're doing exercise like _ [A] _ [B] _ [Em] _ _ [G] _ _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ _
this,
it's up, up, down, up, up, down, up, up, down, up, up, down.
Or in this case, _ [B] it's two up on the first string, [Bm] up, down.
It makes [Gm] sense.
[E] Same thing if you go from the low string.
You would never go down, up, _ down,
because you'll never [A] hit that fourth string. _ _ _
[Gm] It's unusual.
So you would go [E] _ two down, one up.
_ _ [G] _ _ [E] _ _ _ _
[Gm] _ _ [E] _ _ _ [Gb] _ [E] Mathematical sense.
You know what I mean? _ _ _ _ _
If I want to accent more [F] effectively_ _
_ _ _ _ _ [Cm] _ _ _
[Eb] _ _ _ _ _ [A] _ [Dm] _ _
_ _ _ _ [A] _ [G] _ _ _
[Ab] _ [G] _ _ [Ab] _ [G] _ _ _ _
_ [Gm] _ [A] _ _ _ [G] _ [Db] _ [Gm] _
[A] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _