Chords for Andy Wood vs. Andy Wood! Red Haired Boy
Tempo:
126.95 bpm
Chords used:
A
Am
E
F#
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am]
[E] [A]
[Am] [F#]
[Em] [Am]
[F#]
[A]
[E] [C]
[Am] [Em]
[Gm] [D] [A]
[G]
[E]
[Am] [F#]
[G] [A]
[F#m]
[A]
We did these two takes of the [C#m] Bluegrass Standard red-haired boy a couple hours [C#] apart with no click.
In other words, we never actually intended them to [F#] interlock this [A] way as a single performance.
This was simply something that popped into my mind when I was editing the footage.
I thought, what would happen if I just took the [E] one take and dropped it right [A] on top of the other [G] take?
And it's a band, a one-man band.
And they locked up [F#] perfectly like this for about 30 seconds, which is [C#] approximately [A] here.
After which point, those numbers you see on the screen are the numbers of video frames I had to chop out of the guitar side of the performance to keep them both lined up.
Now, for reference, one frame of video is a 30th of a second.
So you can see just how tiny and how [Em] infrequent these edits really are.
It's [E] clear that this tempo is somehow stored in his brain, and he can activate it just by getting [D] into the zone.
At the end [Em] of the mandolin performance, he starts to slow down.
It's a ritardando, totally improv.
[A] Even [E]
[Am]
[A] given that, with [G] just a three-frame edit, ladies and gentlemen, Andy
[E] [A]
[Am] [F#]
[Em] [Am]
[F#]
[A]
[E] [C]
[Am] [Em]
[Gm] [D] [A]
[G]
[E]
[Am] [F#]
[G] [A]
[F#m]
[A]
We did these two takes of the [C#m] Bluegrass Standard red-haired boy a couple hours [C#] apart with no click.
In other words, we never actually intended them to [F#] interlock this [A] way as a single performance.
This was simply something that popped into my mind when I was editing the footage.
I thought, what would happen if I just took the [E] one take and dropped it right [A] on top of the other [G] take?
And it's a band, a one-man band.
And they locked up [F#] perfectly like this for about 30 seconds, which is [C#] approximately [A] here.
After which point, those numbers you see on the screen are the numbers of video frames I had to chop out of the guitar side of the performance to keep them both lined up.
Now, for reference, one frame of video is a 30th of a second.
So you can see just how tiny and how [Em] infrequent these edits really are.
It's [E] clear that this tempo is somehow stored in his brain, and he can activate it just by getting [D] into the zone.
At the end [Em] of the mandolin performance, he starts to slow down.
It's a ritardando, totally improv.
[A] Even [E]
[Am]
[A] given that, with [G] just a three-frame edit, ladies and gentlemen, Andy
Key:
A
Am
E
F#
Em
A
Am
E
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ _ [A] _ _ _
_ _ [Am] _ _ _ _ [F#] _ _
_ _ [Em] _ _ _ [Am] _ _ _
_ _ _ _ _ _ [F#] _ _
[A] _ _ _ _ _ _ _ _
[E] _ _ _ _ _ _ [C] _ _
[Am] _ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ [Gm] _ _ [D] _ _ [A] _ _ _
[G] _ _ _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ _ [Am] _ _ _ _ [F#] _ _
_ _ _ [G] _ _ _ _ [A] _
_ _ _ _ _ _ [F#m] _ _
_ _ _ [A] _ _ _ _ _
We did these two takes of the [C#m] Bluegrass Standard red-haired boy a couple hours [C#] apart with no click.
In other words, we never actually intended them to [F#] interlock this [A] way as a single performance.
This was simply something that popped into my mind when I was editing the footage.
I thought, what would happen if I just took the [E] one take and dropped it right [A] on top of the other [G] take?
And it's a band, a one-man band.
And they locked up [F#] perfectly like this for about 30 seconds, which is [C#] approximately [A] here.
_ After which point, those numbers you see on the screen are the numbers of video frames I had to chop out of the guitar side of the performance to keep them both lined up.
Now, for reference, one frame of video is a 30th of a second.
So you can see just how tiny and how [Em] infrequent these edits really are.
It's [E] clear that this tempo is somehow stored in his brain, and he can activate it just by getting [D] into the zone.
At the end [Em] of the mandolin performance, he starts to slow down.
It's a ritardando, totally improv.
_ [A] Even [E] _ _ _ _
_ _ _ _ [Am] _ _ _ _
_ _ _ [A] given that, with [G] just a three-frame edit, _ _ ladies and gentlemen, Andy
_ _ _ _ _ _ _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ _ [A] _ _ _
_ _ [Am] _ _ _ _ [F#] _ _
_ _ [Em] _ _ _ [Am] _ _ _
_ _ _ _ _ _ [F#] _ _
[A] _ _ _ _ _ _ _ _
[E] _ _ _ _ _ _ [C] _ _
[Am] _ _ _ _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ [Gm] _ _ [D] _ _ [A] _ _ _
[G] _ _ _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
_ _ [Am] _ _ _ _ [F#] _ _
_ _ _ [G] _ _ _ _ [A] _
_ _ _ _ _ _ [F#m] _ _
_ _ _ [A] _ _ _ _ _
We did these two takes of the [C#m] Bluegrass Standard red-haired boy a couple hours [C#] apart with no click.
In other words, we never actually intended them to [F#] interlock this [A] way as a single performance.
This was simply something that popped into my mind when I was editing the footage.
I thought, what would happen if I just took the [E] one take and dropped it right [A] on top of the other [G] take?
And it's a band, a one-man band.
And they locked up [F#] perfectly like this for about 30 seconds, which is [C#] approximately [A] here.
_ After which point, those numbers you see on the screen are the numbers of video frames I had to chop out of the guitar side of the performance to keep them both lined up.
Now, for reference, one frame of video is a 30th of a second.
So you can see just how tiny and how [Em] infrequent these edits really are.
It's [E] clear that this tempo is somehow stored in his brain, and he can activate it just by getting [D] into the zone.
At the end [Em] of the mandolin performance, he starts to slow down.
It's a ritardando, totally improv.
_ [A] Even [E] _ _ _ _
_ _ _ _ [Am] _ _ _ _
_ _ _ [A] given that, with [G] just a three-frame edit, _ _ ladies and gentlemen, Andy