Chords for Chris Thile - Bach on the mandolin - BACH & friends

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_ _ _ _ My relationship with Bach, it's always evolving.
I think _ I'm finally coming out of _ the_
The latest stage has been one of just utter _ humility
to _ the point of _ _ _ Bach completely immobilizing me.
_ _ I used to be really self-conscious about _ the mandolin's technical deficiencies,
but every instrument has technical deficiencies,
and so playing this great violin music on the mandolin,
I think that there are things that the mandolin does really well.
We were talking earlier about how the mandolin is kind of _ the piano to violin's organ.
You can get sound without the right hand still being involved in the sound.
It's still there, and it's not a tremendous sustain, [F#] but it's sustaining.
That can really help in a lot of these pieces, especially like a fugue.
If you've got just [Am] _ _ _ [D] _ _
[Dm] _ _ [Cm] _ _ _ _ [Dm] _ _
[Cm] _ _ _ [Gm] _ _ _ _ _
[Dm] _ _ _ _ [D] _ _ _ _
[A] _ _ _ [G] _ _ [D] simple things like being able to have that D ringing over.
_ [Gm] _ _ _
_ _ _ [C] _ _ _ _ _
[D] _ _ _ _ _ _ [C] _ _
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There's [N] just_
You can get all these ringing things without having to keep dragging the bow across the strings
to keep that sound going, which is nice.
It's obviously_
We _ _ _ mandolinists will lose the war on some of the things,
some of the really beautiful slow stuff.
If you've got like_ _ _ _ _ _
[D] _ _ _ [G] _ _ [F] _ _
[Bm] To hear a great violinist do that_
Oh, [D#] God, forget about it, right?
Or I think one that's really [D] telling _ _ is_
[A#m] _ _ _ [E] _ _ _ [C#] _ _
_ [A#] _ _ [B] _ [A] _ _ [D] _ _
[Dm] _ _ _ [A] I mean, it's nice on mandolin, [Gm]
but_
[A] When [F] you hear Schering play it or Grumio play it,
oh, God, you know, you just freak out. _ _
It's so amazing.
But the [D#] mandolin has these things.
For instance, I think one of the things that's just _ [F#] really_
There's some stuff that's really difficult for violin players.
Certainly like the big four-part [D] chords, the big_
And they have to kind of go_ _ _ _ _
_ _ _ And then sometimes there's _ the_
On these four-part chords.
I mean, it's amazing, but it does kind of disrupt the rhythm of it.
And _ _ mandolinists can kind [Bm] of_
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_ _ [F#m] _ _ _ [C#] _ _ _
_ _ _ [D] _ _ _ _ _
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_ _ _ We don't necessarily have to do any of that kind of thing
or really lay into it just to make sure that all the notes are speaking.
And so it gives us a lot of _ options dynamically and rhythmically.
We can take time where we want
and be loud where we want and quiet when we want.
_ _ So that's a nice little advantage
where we kind of inch back up to the violin as far as technical ability. _ _
_ But there's always just like_
There's some things that are just so beautiful on the piano,
and then you'll hear a harpsichord version,
and you go, oh, yeah, that's really, really nice.
It's just trade-offs all the time.
So I feel a little less self-conscious than I used to
about that I'm not [G#] playing the right instrument.
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