Chords for Angel Romero - 1958 Hermann Hauser II (Part 2)

_ _ _ _ _ _ _ _
And I just wanted to show you a little bit of the way it articulates.
_ _ _ _ [D] From the hard, you know, from the _ strong to the soft.
Like the beginning of the Concierto de Aragüez by Joaquín Rodrigo. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G] _ _ [D] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [D] _ _ _ _ _ _
_ _ _ _ _ [C#m] _ _ _
_ _ [C#m] _ _ [D] _ _ _ _
_ [F#] _ _ _ _ [D] _ _ _
_ [E] Things like that.
Now _ the guitar, what makes a guitar _ _ extraordinary _ is _ [G#m] the speed of which the recovery is very important.
[N] But it _ _ cannot be done with an instrument that is not responsive.
The string has to be there.
My fingers are going so fast.
Then the string cannot just _ continue vibrating and then it's a free for all where _ the finger hits.
No.
It has to recover.
_ _ An explosion of the note, _ the note is created but then the string recovers.
And it's there for the next _ hit of the fingers.
[E] And this is very important.
But this one articulates.
[F#] _ _ _
_ _ [E] _ _ _ _ _ _
_ _ _ _ _ _ It articulates.
[A] It has to be that fast for me.
The thing is then, _ when I test an instrument, _ _ _ and you the listener should do the same, _ _ is
then _ _ _ _ _ [N] like the organ or whatever, you can hold down the notes.
The guitar can't do that.
A violin can do that.
A cello can do this.
The guitar has to give _ almost an illusion.
Then the sound remains up there.
And it's really not an illusion.
If it's a great guitar, it will do it.
But in a chord, for instance like [Bm] this, _ _ _ _ _ _ _ see I need this.
_ _ _ You see how this, _ _
_ _ _ _ _ _ _ _
_ _ [D] it continues.
_ And it doesn't get overpowered by the [Bm] bass. _ _ _ _
And that continues. _ _ _ _ _
_ _ _ _ _ _ _
And a fabulous instrument, _ both the basses and the treble, by themselves, _ they carry
the same _ amount of time.
So it doesn't go like _ some guitars, you go _ and _ _ [D#] the basses overtake it and the treble falls down.
_ It gives you the original chord _ and you think it's there, but it's not because either the
basses or the treble _ _ _ are overwhelmed, overpowered [Bm] by the other. _ _ _ _ _
_ But all the notes are going up. _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ _ _ _
[Bm] _ _ _ _ _ _ _ _
_ _ _ _ [G#] _ _ [Em] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [C#] _ _ _ _
_ [F#] _ _ _ _ _ _ _
[B] _ _ _ _ [Bm] _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ [G#m] _ _ _ _
_ [F#m] _ _ _ _ _ _ _
_ _ [B] _ _ _ _ _ _
_ _ _ [E] _ _ _ _ _
_ _ [F#] _ _ [A] _ _ _ _
_ [D] _ _ _ _ [G] _ _ _
_ _ [C] _ _ _ _ _ _
_ [B] _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
_ _ _ _ _ _ _ [F#m] _
_ _ _ _ _ [F#] See the melody _ just keeps flowing.
And it gives the interpreter the tool you need.
It's like a voice.
It's absolutely like if I'm singing.
La da, la da dee.
_ I need to be able to go la da da.
_ _ Not to have somebody come from behind and go da da da.
_ And choke it.
_ The note has to be pure. _ _
_ _ _ [Em] _ _ _ _ [F#] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] _ You know when a guitar is very crisp, it enables you to go faster.
It helps to go faster.
[F#] _
Although a few hours of practice also help.
_ _ [F#m] _ _ _ _ _ _ _ _ _
[D] _ _ _ _ _ _ _ [E] _
_ _ _ _ [D] _ _ _ _
[F#] _ _ _ _ _ _ _ _
_ _ [D] _ _ _ _ [F#] _ _
_ _ _ _ _ _ _ [F#m] _
_ _ [E] _ _ _ _ [F#m] _ _
_ [F#] _ _ _ _ [N] _ _ _