Chords for Allen Gorrie, Average White Band, What It Takes To Be A Pro
Tempo:
91.125 bpm
Chords used:
G
C
Em
F
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
When you're playing, when you're [F#] starting out and [Bm] playing music part-time as
everybody is, as a an amateur [Em] or as a semi [Bm]-professional or wannabe professional,
[Em] everything is exciting, everything's brand new.
[Am]
One of [N] the, one of the main
reasons guys joined [F#m] bands back in [G] the 60s was to get girls.
[Em] That was one side
of it, but the music side of it, I don't think it was, there was [C] any actual period
that you would say that there was a different concept being semi [E]-pro as there
was to being [G] a pro.
We, when we were semi-pros, we learned every [C] tune as if it
was life and [G] death.
We [F#] learned all the parts, we did everything [C] [N] as on
the record.
We [G] copied things lick for lick, note for note, arrangement verbatim.
[B] And in that respect, we were [G] already thinking like professionals, where a [C] lot
of guys were just playing [G] sketchy versions of Motown songs or Stax [D] tunes
or whatever.
[Em] They figured if they had the right chords [N] and some of the right
parts, that would be fine, nobody would notice.
Well, when I was semi-pro, the
bands, the people I was playing with didn't feel that way.
They were
determined to get it right from the get-go.
So we probably always had that,
the right, you know, the right path in mind and I don't think that we [C] figured
that we were ever going to stay semi-professional.
[D] We knew we were going
to be professional [G] musicians, so you [F] may as well get it right from the start.
And
that [G] was the approach that I took and the guys that [C] ended up
forming the Average White Band were all of the same, came from the same school.
Get it right, [G] whether you're semi-pro or a [C] professional.
Same approach, do it [N] right,
do it properly [Em] and, you know, [Am] beat each other [E] up to [B] [C] play the right
parts.
And then when you come to write your own tunes, you apply the same rule
of thumb, you apply the same principles.
[Bm] Everybody find their [F] part, play it well,
stick to it and the whole thing [F#] forms a cohesive [G] piece of music that, [C#] lo and
behold, does the [F] business.
It's as simple as that.
Well, I've been a D'Addario
string user for about 10 or 12 years, I guess, simply because there's no other
strings that actually have a feel like that.
[N] They've got a silkiness that I
find works for my kind of playing and with the bass strings and the guitar
strings I use flat-wound strings because I like moving from one instrument to the
other, I [G] like a similarity between the two things.
So I use a fairly, what I
think, is a heavy, heavy-ish gauge of guitar string.
The D'Addarios have a
good resistance, the 11 through, [C] [G#m] I guess it's 48, or is it maybe [F] 50?
11 through [G#] 50, I
think, the guitar strings.
And then I use the 45 through 132 [G] five-string bass set.
So when [C#] I go from one [G#] instrument to the next there isn't a huge [G] difference in
the attack or the resistance that I need to feel when I'm playing.
And that's an
[N] important thing because if you're singing and playing at the same time, you're not
trying to be all technical and thoughtful about it.
It's something that
accompanies your voice and therefore it has to be very, very natural.
So I think
that, you know, overall, and I've tried a lot of different strings over the years,
the D'Addario strings have got the best response for my style of [G] playing
anyway.
That's why I use them and that's why I
everybody is, as a an amateur [Em] or as a semi [Bm]-professional or wannabe professional,
[Em] everything is exciting, everything's brand new.
[Am]
One of [N] the, one of the main
reasons guys joined [F#m] bands back in [G] the 60s was to get girls.
[Em] That was one side
of it, but the music side of it, I don't think it was, there was [C] any actual period
that you would say that there was a different concept being semi [E]-pro as there
was to being [G] a pro.
We, when we were semi-pros, we learned every [C] tune as if it
was life and [G] death.
We [F#] learned all the parts, we did everything [C] [N] as on
the record.
We [G] copied things lick for lick, note for note, arrangement verbatim.
[B] And in that respect, we were [G] already thinking like professionals, where a [C] lot
of guys were just playing [G] sketchy versions of Motown songs or Stax [D] tunes
or whatever.
[Em] They figured if they had the right chords [N] and some of the right
parts, that would be fine, nobody would notice.
Well, when I was semi-pro, the
bands, the people I was playing with didn't feel that way.
They were
determined to get it right from the get-go.
So we probably always had that,
the right, you know, the right path in mind and I don't think that we [C] figured
that we were ever going to stay semi-professional.
[D] We knew we were going
to be professional [G] musicians, so you [F] may as well get it right from the start.
And
that [G] was the approach that I took and the guys that [C] ended up
forming the Average White Band were all of the same, came from the same school.
Get it right, [G] whether you're semi-pro or a [C] professional.
Same approach, do it [N] right,
do it properly [Em] and, you know, [Am] beat each other [E] up to [B] [C] play the right
parts.
And then when you come to write your own tunes, you apply the same rule
of thumb, you apply the same principles.
[Bm] Everybody find their [F] part, play it well,
stick to it and the whole thing [F#] forms a cohesive [G] piece of music that, [C#] lo and
behold, does the [F] business.
It's as simple as that.
Well, I've been a D'Addario
string user for about 10 or 12 years, I guess, simply because there's no other
strings that actually have a feel like that.
[N] They've got a silkiness that I
find works for my kind of playing and with the bass strings and the guitar
strings I use flat-wound strings because I like moving from one instrument to the
other, I [G] like a similarity between the two things.
So I use a fairly, what I
think, is a heavy, heavy-ish gauge of guitar string.
The D'Addarios have a
good resistance, the 11 through, [C] [G#m] I guess it's 48, or is it maybe [F] 50?
11 through [G#] 50, I
think, the guitar strings.
And then I use the 45 through 132 [G] five-string bass set.
So when [C#] I go from one [G#] instrument to the next there isn't a huge [G] difference in
the attack or the resistance that I need to feel when I'm playing.
And that's an
[N] important thing because if you're singing and playing at the same time, you're not
trying to be all technical and thoughtful about it.
It's something that
accompanies your voice and therefore it has to be very, very natural.
So I think
that, you know, overall, and I've tried a lot of different strings over the years,
the D'Addario strings have got the best response for my style of [G] playing
anyway.
That's why I use them and that's why I
Key:
G
C
Em
F
F#
G
C
Em
When you're playing, when you're [F#] starting out and [Bm] playing music part-time as
everybody is, as a an amateur [Em] or as a semi [Bm]-professional or wannabe professional,
[Em] everything is exciting, everything's brand new.
[Am] _
One of [N] the, one of the main
reasons guys joined [F#m] bands back in [G] the 60s was to get girls.
[Em] That was one side
of it, but the music side of it, I don't think it was, there was [C] any actual period
that you would say that there was a different concept being semi [E]-pro as there
was to being [G] a pro.
We, when we were semi-pros, we learned every [C] tune as if it
was life and [G] death.
We [F#] learned all the parts, we did everything [C] _ [N] as on
the record.
We [G] copied things lick for lick, note for note, arrangement verbatim.
[B] And in that respect, we were [G] already thinking like professionals, where a [C] lot
of guys were just playing [G] sketchy versions of Motown songs or Stax [D] tunes
or whatever.
[Em] They figured if they had the right chords [N] and some of the right
parts, that would be fine, nobody would notice.
Well, when I was semi-pro, the
bands, the people I was playing with didn't feel that way.
They were
determined to get it right from the get-go.
So we probably always had that,
the right, you know, the right path in mind and I don't think that we [C] figured
that we were ever going to stay semi-professional.
[D] We knew we were going
to be professional [G] musicians, so you [F] may as well get it right from the start.
And
that [G] was the approach that I took and the guys that [C] ended up
forming the Average White Band were all of the same, came from the same school.
Get it right, [G] whether you're semi-pro or a [C] professional.
Same approach, do it [N] right,
do it properly [Em] and, you know, [Am] beat each other [E] up to [B] [C] play the right
parts.
And then when you come to write your own tunes, you apply the same rule
of thumb, you apply the same principles.
[Bm] Everybody find their [F] part, play it well,
stick to it and the whole thing [F#] forms a cohesive [G] piece of music that, [C#] lo and
behold, does the [F] business.
It's as simple as that.
Well, I've been a D'Addario
string user for about 10 or 12 years, I guess, _ simply because there's no other
strings that actually have a feel like that.
[N] They've got a silkiness that I
find works for my kind of playing and with the bass strings and the guitar
strings I use flat-wound strings because I like moving from one instrument to the
other, I [G] like a similarity between the two things.
So I use a fairly, what I
think, is a heavy, heavy-ish gauge of guitar string.
The D'Addarios have a
good resistance, the 11 through, [C] [G#m] I guess it's 48, or is it maybe [F] 50?
11 through [G#] 50, I
think, the guitar strings.
And then I use the 45 through 132 [G] five-string bass set.
So when [C#] I go from one [G#] instrument to the next there isn't a huge [G] difference in
the attack or the resistance that I need to feel when I'm playing.
And that's an
[N] important thing because if you're singing and playing at the same time, you're not
trying to be all technical and thoughtful about it.
It's something that
accompanies your voice and therefore it has to be very, very natural.
So I think
that, you know, overall, and I've tried a lot of different strings over the years,
the D'Addario strings have got the best response for my style of [G] playing
anyway.
That's why I use them and that's why I
everybody is, as a an amateur [Em] or as a semi [Bm]-professional or wannabe professional,
[Em] everything is exciting, everything's brand new.
[Am] _
One of [N] the, one of the main
reasons guys joined [F#m] bands back in [G] the 60s was to get girls.
[Em] That was one side
of it, but the music side of it, I don't think it was, there was [C] any actual period
that you would say that there was a different concept being semi [E]-pro as there
was to being [G] a pro.
We, when we were semi-pros, we learned every [C] tune as if it
was life and [G] death.
We [F#] learned all the parts, we did everything [C] _ [N] as on
the record.
We [G] copied things lick for lick, note for note, arrangement verbatim.
[B] And in that respect, we were [G] already thinking like professionals, where a [C] lot
of guys were just playing [G] sketchy versions of Motown songs or Stax [D] tunes
or whatever.
[Em] They figured if they had the right chords [N] and some of the right
parts, that would be fine, nobody would notice.
Well, when I was semi-pro, the
bands, the people I was playing with didn't feel that way.
They were
determined to get it right from the get-go.
So we probably always had that,
the right, you know, the right path in mind and I don't think that we [C] figured
that we were ever going to stay semi-professional.
[D] We knew we were going
to be professional [G] musicians, so you [F] may as well get it right from the start.
And
that [G] was the approach that I took and the guys that [C] ended up
forming the Average White Band were all of the same, came from the same school.
Get it right, [G] whether you're semi-pro or a [C] professional.
Same approach, do it [N] right,
do it properly [Em] and, you know, [Am] beat each other [E] up to [B] [C] play the right
parts.
And then when you come to write your own tunes, you apply the same rule
of thumb, you apply the same principles.
[Bm] Everybody find their [F] part, play it well,
stick to it and the whole thing [F#] forms a cohesive [G] piece of music that, [C#] lo and
behold, does the [F] business.
It's as simple as that.
Well, I've been a D'Addario
string user for about 10 or 12 years, I guess, _ simply because there's no other
strings that actually have a feel like that.
[N] They've got a silkiness that I
find works for my kind of playing and with the bass strings and the guitar
strings I use flat-wound strings because I like moving from one instrument to the
other, I [G] like a similarity between the two things.
So I use a fairly, what I
think, is a heavy, heavy-ish gauge of guitar string.
The D'Addarios have a
good resistance, the 11 through, [C] [G#m] I guess it's 48, or is it maybe [F] 50?
11 through [G#] 50, I
think, the guitar strings.
And then I use the 45 through 132 [G] five-string bass set.
So when [C#] I go from one [G#] instrument to the next there isn't a huge [G] difference in
the attack or the resistance that I need to feel when I'm playing.
And that's an
[N] important thing because if you're singing and playing at the same time, you're not
trying to be all technical and thoughtful about it.
It's something that
accompanies your voice and therefore it has to be very, very natural.
So I think
that, you know, overall, and I've tried a lot of different strings over the years,
the D'Addario strings have got the best response for my style of [G] playing
anyway.
That's why I use them and that's why I