Chords for Anna Lapwood - Anna Lapwood Introduces "Luna"
Tempo:
89.975 bpm
Chords used:
D
C#m
F#m
A
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
My name's Anna Lapwood, I'm a conductor, [F#] I'm an organist, I [F#m] direct music at Pembroke College in Cambridge
[A] and we're here recording my second organ album, [C#m] which is mad and crazy and I'm so [D] excited to be here.
This is so much fun!
We've been planning this album for a really long time and it's music that I've loved, cared about [C#m] deeply for a really long time.
It includes a lot of my own transcriptions so I've been writing them for several [D] months
and I've probably spent about 30 hours getting used to this instrument and setting up all the sounds.
So [F#m] to finally be here and be able to go and listen back and hear how it's sounding [A] with proper microphones in this space
[C#] is extraordinary, it's an amazing feeling.
I mean, when you play [D] the organ you often don't hear the full [F#m] force of the sound
because it is down here really that you get the [A] hitting in the face effect of what the instrument can [C#m] do.
So to be able to hear it properly is [D] exciting.
I might see if I can make this any brighter.
That's balancing alright isn't it?
You've [D#] got detail and size.
I've got one of those in my back pocket.
Oh I like that!
[C#] That's, yeah, I've got all that in hand.
[D] With this album I was sort of imagining [F#m] that I was standing staring up at the night sky.
I don't know if you've ever been to Africa and looked [A] at the sky there but you look up
[C#m] and there are just so many stars you think how [D] can there possibly be this many stars in the universe, it's insane.
So the idea is you're sort of standing looking up at the sky and then [A] you zoom in on [C#m] individual stars,
individual constellations [D] and see the different characters.
So [F#m] as I said we've got this quiet music, we've got this really really soft, [A] gentle, intense music
and then you hear the full [C#m] force of the organ.
So [D] in Philip Glass's Mad Rush you hear both sides of the instrument [F#m] in close proximity.
[A] So yeah I guess it's basically trying to sum up the enormity of the [C#m] universe on an album.
[D]
[F#m]
[C#m]
[D] [F#m]
[A] I think the thing about the organ is you're not just playing the organ, you're [C#m] playing the building you're in.
So in [D] this case we're in this cavernous space and whether I'm playing Clair de Lune or Experience,
[F#m] whether I'm playing pianissimo or fortissimo, the building is resonating with the instrument.
And so going back to this idea of [A] the enormity of the universe, you feel like [C#m] you as a tiny person
suddenly have [D] power so far beyond who you are, what you are
and trying to just bring that magic to as many people as possible
[A] and we're here recording my second organ album, [C#m] which is mad and crazy and I'm so [D] excited to be here.
This is so much fun!
We've been planning this album for a really long time and it's music that I've loved, cared about [C#m] deeply for a really long time.
It includes a lot of my own transcriptions so I've been writing them for several [D] months
and I've probably spent about 30 hours getting used to this instrument and setting up all the sounds.
So [F#m] to finally be here and be able to go and listen back and hear how it's sounding [A] with proper microphones in this space
[C#] is extraordinary, it's an amazing feeling.
I mean, when you play [D] the organ you often don't hear the full [F#m] force of the sound
because it is down here really that you get the [A] hitting in the face effect of what the instrument can [C#m] do.
So to be able to hear it properly is [D] exciting.
I might see if I can make this any brighter.
That's balancing alright isn't it?
You've [D#] got detail and size.
I've got one of those in my back pocket.
Oh I like that!
[C#] That's, yeah, I've got all that in hand.
[D] With this album I was sort of imagining [F#m] that I was standing staring up at the night sky.
I don't know if you've ever been to Africa and looked [A] at the sky there but you look up
[C#m] and there are just so many stars you think how [D] can there possibly be this many stars in the universe, it's insane.
So the idea is you're sort of standing looking up at the sky and then [A] you zoom in on [C#m] individual stars,
individual constellations [D] and see the different characters.
So [F#m] as I said we've got this quiet music, we've got this really really soft, [A] gentle, intense music
and then you hear the full [C#m] force of the organ.
So [D] in Philip Glass's Mad Rush you hear both sides of the instrument [F#m] in close proximity.
[A] So yeah I guess it's basically trying to sum up the enormity of the [C#m] universe on an album.
[D]
[F#m]
[C#m]
[D] [F#m]
[A] I think the thing about the organ is you're not just playing the organ, you're [C#m] playing the building you're in.
So in [D] this case we're in this cavernous space and whether I'm playing Clair de Lune or Experience,
[F#m] whether I'm playing pianissimo or fortissimo, the building is resonating with the instrument.
And so going back to this idea of [A] the enormity of the universe, you feel like [C#m] you as a tiny person
suddenly have [D] power so far beyond who you are, what you are
and trying to just bring that magic to as many people as possible
Key:
D
C#m
F#m
A
C#
D
C#m
F#m
My name's Anna Lapwood, I'm a conductor, [F#] I'm an organist, I [F#m] direct music at Pembroke College in Cambridge
[A] and we're here recording my second organ album, [C#m] which is mad and crazy and I'm so [D] excited to be here.
This is so much fun!
_ We've been planning this album for a really long time and it's music that I've loved, cared about [C#m] deeply for a really long time.
It includes a lot of my own transcriptions so I've been writing them for several [D] months
and I've probably spent about 30 hours getting used to this instrument and setting up all the sounds.
So [F#m] to finally be here and be able to go and listen back and hear how it's sounding [A] with proper microphones in this space
[C#] is extraordinary, it's an amazing feeling.
I mean, when you play [D] the organ you often don't hear the full [F#m] force of the sound
because it is down here really that you get the [A] hitting in the face effect of what the instrument can [C#m] do.
So to be able to hear it properly is [D] exciting. _
I might see if I can make this any brighter.
That's balancing alright isn't it?
You've [D#] got detail and size.
I've got one of those in my back pocket.
_ _ _ Oh I like that!
_ _ _ [C#] That's, yeah, I've got all that in hand.
[D] _ With this album I was sort of imagining [F#m] that I was standing staring up at the night sky.
I don't know if you've ever been to Africa and looked [A] at the sky there but you look up
[C#m] and there are just so many stars you think how [D] can there possibly be this many stars in the universe, it's insane.
So the idea is you're sort of standing looking up at the sky and then [A] you zoom in on [C#m] individual stars,
individual constellations [D] and see the different characters.
So [F#m] as I said we've got this quiet music, we've got this really really soft, [A] gentle, intense music
and then you hear the full [C#m] force of the organ.
So [D] in Philip Glass's Mad Rush you hear both sides of the instrument [F#m] in close proximity.
[A] So yeah I guess it's basically trying to sum up the enormity of the [C#m] universe on an album.
_ _ [D] _
_ _ _ [F#m] _ _ _ _ _
_ _ _ _ [C#m] _ _ _ _
[D] _ _ _ _ [F#m] _ _ _
[A] I think the thing about the organ is you're not just playing the organ, you're [C#m] playing the building you're in.
So in [D] this case we're in this cavernous space and whether I'm playing Clair de Lune or Experience,
[F#m] whether I'm playing pianissimo or fortissimo, the building is resonating with the instrument.
And so going back to this idea of [A] the enormity of the universe, you feel like [C#m] you as a tiny person
suddenly have [D] power so far beyond who you are, what you are
and trying to just bring that magic to as many people as possible
[A] and we're here recording my second organ album, [C#m] which is mad and crazy and I'm so [D] excited to be here.
This is so much fun!
_ We've been planning this album for a really long time and it's music that I've loved, cared about [C#m] deeply for a really long time.
It includes a lot of my own transcriptions so I've been writing them for several [D] months
and I've probably spent about 30 hours getting used to this instrument and setting up all the sounds.
So [F#m] to finally be here and be able to go and listen back and hear how it's sounding [A] with proper microphones in this space
[C#] is extraordinary, it's an amazing feeling.
I mean, when you play [D] the organ you often don't hear the full [F#m] force of the sound
because it is down here really that you get the [A] hitting in the face effect of what the instrument can [C#m] do.
So to be able to hear it properly is [D] exciting. _
I might see if I can make this any brighter.
That's balancing alright isn't it?
You've [D#] got detail and size.
I've got one of those in my back pocket.
_ _ _ Oh I like that!
_ _ _ [C#] That's, yeah, I've got all that in hand.
[D] _ With this album I was sort of imagining [F#m] that I was standing staring up at the night sky.
I don't know if you've ever been to Africa and looked [A] at the sky there but you look up
[C#m] and there are just so many stars you think how [D] can there possibly be this many stars in the universe, it's insane.
So the idea is you're sort of standing looking up at the sky and then [A] you zoom in on [C#m] individual stars,
individual constellations [D] and see the different characters.
So [F#m] as I said we've got this quiet music, we've got this really really soft, [A] gentle, intense music
and then you hear the full [C#m] force of the organ.
So [D] in Philip Glass's Mad Rush you hear both sides of the instrument [F#m] in close proximity.
[A] So yeah I guess it's basically trying to sum up the enormity of the [C#m] universe on an album.
_ _ [D] _
_ _ _ [F#m] _ _ _ _ _
_ _ _ _ [C#m] _ _ _ _
[D] _ _ _ _ [F#m] _ _ _
[A] I think the thing about the organ is you're not just playing the organ, you're [C#m] playing the building you're in.
So in [D] this case we're in this cavernous space and whether I'm playing Clair de Lune or Experience,
[F#m] whether I'm playing pianissimo or fortissimo, the building is resonating with the instrument.
And so going back to this idea of [A] the enormity of the universe, you feel like [C#m] you as a tiny person
suddenly have [D] power so far beyond who you are, what you are
and trying to just bring that magic to as many people as possible