Chords for Chris Thile

[G] _ _ _ _ _ _ _
You know something that I've thought about a lot is is soloing over fiddle tunes and _ and
So I mean if you take a if you take a fiddle tune like like temperance real _
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_ _ _ like a beautiful little fiddle tune and and for us
You know if you're gonna play that with a bunch of bluegrass guys everybody's gonna solo over it
And it's such a it's such a pretty.
It's such a pretty melody that you really want to do it a good service
[N] _ You know sort of the
The the more trivial the melody the and the more out you can get with your soloing
But a beautiful melody really needs to be paid tribute to during the course of your you're improvising, so [G] it's like
So it's like you know one of the things that's notable is the is this is the stop right in the beginning
_ _ You know before it goes up
_ You _ _ know so that
[F] you always want to find themes you know you [A#] deconstruct the melody and figure out what [G] what makes it it and
And _ I'd say that that's one of the things _ _ _
[N] _ So you might even you might even just make that a theme of an of [G] a solo _ _ _ _ _ _
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_ _ _ [Em] _ You know like that would be a way to to kind of go over it
_ [G] Exactly so the root the rhythmic thing and then and then you want to you [F#] also want to be [E] true like I hate it when
I hear [G] people like you'd hear [N] and bluegrass players are some of the most [G] guilty
You know in all of society at this is playing blues riffs over this kind of melody there is no F
In this melody all right.
We're in G here
This _ _ _ _ one that I have worked up and I've thought about a lot recently is it's a it's a it's a jig and it's you know It's
_ And you want to make sure because they're all dances [Dm] we make sure that people could dance to them
That's what they're there for you know _
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[G] _ _ _ And
If you're gonna take time, [Gm]
then you then you drop people a line, you know let [A] people know throw them a ladder you know _ _ _ _ _ _ Yeah
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_ _ _ _ [A] Yeah, you really do you know and and so if you're gonna do it like [G#m] I'm always amazed it like the way Gould stretches time It's always
He's he's doing just that he's throwing you a line.
He's he's making sure that you can follow him there
You know so it's like if you're if you're gonna.
You're just because it's actually very pleasing sometimes we don't
_ You _ know sometimes it feels really good as [F] long as you know it's coming you've been given a hint _ _
_ _ _ _ _ I've listened to a lot of stuff, and I listen really
_ Intently I mean I I would I would always advise
aspiring musicians to just live
To live music to live your life as a musician to never turn your ears off and to never not be practicing
You know what I mean.
It's like you can you can go through a whole day
_ And be practicing every single second you don't have to have your instrument
You know it's always nice to have your instrument on you
But but some of the [C] some of the best practice you'll do is without it
you know the mental the [E] mental game of music is is significant and tough _ and
[Bm] But to [B] approach everything and and and so anytime you hear any music during the day
You know to be analytical about it
And I mean it [N] it does make for sometimes a fairly depressing existence because much of the music that you'll hear during the course of
a given day is pretty bad, but but to know that and to be constantly evaluating and _ and
And in turn internalizing and learning the lessons that both good and bad music have to teach you very important _ _ _ _ _
So keep yeah keep your part normal so that people can follow [C] you _
[Dm] _ You _ _ [E] _ _ [Am] _
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[Dm] _ _ [A] _ _ _ know and then yeah, then let