Chords for CSO: JL Weiler on the CSO's Organ
Tempo:
117.65 bpm
Chords used:
C
G
A
Dm
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
My name is Jeff Weiler.
I [C] am the organ curator for the Chicago Symphony.
Of course, [E] concert hall organs have a very unique musical role that's different from [A] the instruments that [Dm] you might hear at church, for [C] example.
And there are times when the concert hall organ has to be able to rise above and completely engulf the entire orchestra and chorus.
And I'm happy to tell [Am] you that the Chicago Symphony Casavant organ [C] [G] does that with tremendous ease.
Audiences [C] are sometimes flabbergasted [F] at [E] the scope of the instrument.
This is a [A] colossal piece of musical machinery.
[C] Audiences see the organist at the console.
Well, that's not the organ.
[G] Audiences see the pipes in the three bays above the choral terrace.
Well, that's where the organ is, but it's only a tiny, tiny portion of the organ.
What you don't get to see [C] is really the most fascinating part of the instrument.
This organ contains some 3 ,414 pipes, the longest of which is 32 feet long.
And by contrast, the smallest pipe in the organ is only about [B] 5 eighths of an inch long.
And of [D] course, you have everything in between.
There's an interconnectedness [Gb] between the console that they see on the stage, the organ blower room, which is two [C] floors below ground,
and then the organ loft, [G] which is on the third floor of the [A] hall, and it spans the entire width of the building.
Our job is made much [Gm] easier because the environment in Orchestra Hall is so carefully controlled.
Before every performance, using the pipe organ, we visit the organ, we make sure that it is well in tune,
we touch up the tuning, all in keeping with the [Abm] maintenance of this very high level of performance standard,
which typically takes us four or five hours, the [G] organ's ready to go.
We're very, very grateful for our ongoing [D] relationship [Eb] with the Chicago Symphony.
[Bb] [Fm] It's an amazing, [Bm] amazing group of [Dm] people, [Em] both those that we see on the [F] stage [G] and those that we [C] don't see on the stage.
[Cm] It's really a big [Dm] family, [F] and we're very happy to be a part of that family.
[Eb] [N]
I [C] am the organ curator for the Chicago Symphony.
Of course, [E] concert hall organs have a very unique musical role that's different from [A] the instruments that [Dm] you might hear at church, for [C] example.
And there are times when the concert hall organ has to be able to rise above and completely engulf the entire orchestra and chorus.
And I'm happy to tell [Am] you that the Chicago Symphony Casavant organ [C] [G] does that with tremendous ease.
Audiences [C] are sometimes flabbergasted [F] at [E] the scope of the instrument.
This is a [A] colossal piece of musical machinery.
[C] Audiences see the organist at the console.
Well, that's not the organ.
[G] Audiences see the pipes in the three bays above the choral terrace.
Well, that's where the organ is, but it's only a tiny, tiny portion of the organ.
What you don't get to see [C] is really the most fascinating part of the instrument.
This organ contains some 3 ,414 pipes, the longest of which is 32 feet long.
And by contrast, the smallest pipe in the organ is only about [B] 5 eighths of an inch long.
And of [D] course, you have everything in between.
There's an interconnectedness [Gb] between the console that they see on the stage, the organ blower room, which is two [C] floors below ground,
and then the organ loft, [G] which is on the third floor of the [A] hall, and it spans the entire width of the building.
Our job is made much [Gm] easier because the environment in Orchestra Hall is so carefully controlled.
Before every performance, using the pipe organ, we visit the organ, we make sure that it is well in tune,
we touch up the tuning, all in keeping with the [Abm] maintenance of this very high level of performance standard,
which typically takes us four or five hours, the [G] organ's ready to go.
We're very, very grateful for our ongoing [D] relationship [Eb] with the Chicago Symphony.
[Bb] [Fm] It's an amazing, [Bm] amazing group of [Dm] people, [Em] both those that we see on the [F] stage [G] and those that we [C] don't see on the stage.
[Cm] It's really a big [Dm] family, [F] and we're very happy to be a part of that family.
[Eb] [N]
Key:
C
G
A
Dm
F
C
G
A
_ My name is Jeff Weiler.
I [C] am the organ curator for the Chicago Symphony.
_ Of course, [E] concert hall organs have a very unique musical role that's different from [A] the instruments that [Dm] you might hear at church, for [C] example.
And there are times when the concert hall organ _ has to be able to rise above and completely engulf the entire orchestra and chorus.
And I'm happy to tell [Am] you that the Chicago Symphony Casavant organ [C] _ [G] does that with tremendous ease.
_ _ Audiences [C] are _ sometimes _ flabbergasted [F] at [E] the scope of the instrument.
This is a _ [A] colossal piece of musical machinery.
[C] Audiences see the organist at the console.
Well, that's not the organ. _
_ [G] Audiences see the pipes in the three bays above the choral terrace.
Well, that's where the organ is, but it's only a tiny, tiny portion of the organ.
What you don't get to see [C] is really the most fascinating part of the instrument.
This organ contains some 3 _ ,414 pipes, the longest of which is 32 feet long.
And by contrast, the smallest pipe in the organ is only about [B] 5 eighths of an inch long.
And of [D] course, you have everything in between.
There's an interconnectedness [Gb] between the console that they see on the stage, the organ blower room, which is two [C] floors below ground,
and then the organ loft, [G] which is on the third floor of the [A] hall, and it spans the entire width of the building.
Our job is made much [Gm] easier because the environment in Orchestra Hall is so carefully controlled.
_ _ Before every performance, using the pipe organ, we visit the organ, we make sure that it is well in tune,
we touch up the tuning, all in keeping with the [Abm] maintenance of this very high level of performance standard,
which typically takes us four or five hours, _ _ the [G] organ's ready to go.
We're very, very grateful for our ongoing [D] relationship [Eb] with the Chicago Symphony.
[Bb] _ [Fm] It's an amazing, [Bm] amazing group of [Dm] people, _ [Em] both those that we see on the [F] stage [G] and those that we [C] don't see on the stage.
[Cm] It's really a big [Dm] family, _ [F] and we're very happy to be a part of that family.
[Eb] _ _ _ _ _ _ _ _
_ _ _ _ [N] _ _
I [C] am the organ curator for the Chicago Symphony.
_ Of course, [E] concert hall organs have a very unique musical role that's different from [A] the instruments that [Dm] you might hear at church, for [C] example.
And there are times when the concert hall organ _ has to be able to rise above and completely engulf the entire orchestra and chorus.
And I'm happy to tell [Am] you that the Chicago Symphony Casavant organ [C] _ [G] does that with tremendous ease.
_ _ Audiences [C] are _ sometimes _ flabbergasted [F] at [E] the scope of the instrument.
This is a _ [A] colossal piece of musical machinery.
[C] Audiences see the organist at the console.
Well, that's not the organ. _
_ [G] Audiences see the pipes in the three bays above the choral terrace.
Well, that's where the organ is, but it's only a tiny, tiny portion of the organ.
What you don't get to see [C] is really the most fascinating part of the instrument.
This organ contains some 3 _ ,414 pipes, the longest of which is 32 feet long.
And by contrast, the smallest pipe in the organ is only about [B] 5 eighths of an inch long.
And of [D] course, you have everything in between.
There's an interconnectedness [Gb] between the console that they see on the stage, the organ blower room, which is two [C] floors below ground,
and then the organ loft, [G] which is on the third floor of the [A] hall, and it spans the entire width of the building.
Our job is made much [Gm] easier because the environment in Orchestra Hall is so carefully controlled.
_ _ Before every performance, using the pipe organ, we visit the organ, we make sure that it is well in tune,
we touch up the tuning, all in keeping with the [Abm] maintenance of this very high level of performance standard,
which typically takes us four or five hours, _ _ the [G] organ's ready to go.
We're very, very grateful for our ongoing [D] relationship [Eb] with the Chicago Symphony.
[Bb] _ [Fm] It's an amazing, [Bm] amazing group of [Dm] people, _ [Em] both those that we see on the [F] stage [G] and those that we [C] don't see on the stage.
[Cm] It's really a big [Dm] family, _ [F] and we're very happy to be a part of that family.
[Eb] _ _ _ _ _ _ _ _
_ _ _ _ [N] _ _