Chords for D'Addario Presents Guitar Talk | Flip Scipio, Pat Metheny & Linda Manzer
Tempo:
73.8 bpm
Chords used:
A
G
Bm
B
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [A] [Bm] [B] [C#]
[F#m] [Dm] [A] [E] [A]
[D] This is Flip Scipio and I'm a guitar repairman and I'm [N] lucky enough to spend a little time
with my old dear friend Linda Manser, genius guitar maker and somebody I greatly admire,
Pat Bethany.
One of the really cool things about going around and playing gigs and having a couple
of great guitar makers is that you get to meet great guitar makers and I consider Linda
one of my best, most important collaborators.
Had you actually, I don't know whether I heard this story correctly, but had you actually
just approached Pat with a guitar?
I sent a letter backstage at one of his concerts.
His road manager came out and found me and I ended up talking to him and they suggested
that we go back to the hotel and take a bunch of guitars and Pat played the whole concert
over again in the room.
Linda handed me her instrument and it was instantaneously a completely different experience
for me and the way the notes went from one register to the next, it was exactly what
it is I'm always looking for, which is it sounds like one instrument and it's very connected.
And her guitars consistently have that and they sound incredible.
Do you send each other drawings when you're working on something?
When we did the Picasso, I kind of drew on a napkin some kind of, like couldn't you do like with
You asked me for guitar with as many strings as possible and then I gave you a drawing
of a whole bunch of strings in a line and you said let's do everywhere.
But I still remember it being like blurred with like a blue sharpie on a napkin.
Hamburger, ketchup and stuff.
Great, I'll make you that and off I went.
And also when I got that guitar from you, I just stared at it for about three years.
I actually didn't quite know what to do with it.
It took me a long time to think, okay well I can do this, I can do that.
I took two pictures of you the first day you had it and the first one you got a big smile
on your face and you look really happy and the next one is you're looking down at it
like oh shit, I have to tune it now.
Did you play fretless 12 string with Kenny Garrett?
I saw you play at the Knitting Factory.
You saw us do the track which is on the live trio record called Counting Texas.
I love that track.
Is that the fretless arch top classical?
Yeah.
The energy on the track is just amazing.
Well that instrument came from, my wife is French but her family is Moroccan and we had
just come from a tour or a trip in Morocco and I played and observed oud players almost
every day which is basically an 11 string fretless nylon string.
And I was like, one of those calls, Linda, how hard would it be?
And we had already done the 6 string fretless which I loved and it's featured a lot.
Well you've really pushed my envelope which I'm incredibly grateful for because you've
made it really easy for me to explore but knowing that basically no matter how far I
go off the request, you're cool with it.
That's also kind of the world that I live in which is to kind of come up with enough
information musically to sort of create an environment for exploration and we've had
really a great time developing some really interesting instruments together that I think
have had a very important place in my life in terms of what I've been able to express
sonically that I would not have gotten to otherwise.
It was great.
It was really fun.
Yeah.
Thank you.
[F#m] [Dm] [A] [E] [A]
[D] This is Flip Scipio and I'm a guitar repairman and I'm [N] lucky enough to spend a little time
with my old dear friend Linda Manser, genius guitar maker and somebody I greatly admire,
Pat Bethany.
One of the really cool things about going around and playing gigs and having a couple
of great guitar makers is that you get to meet great guitar makers and I consider Linda
one of my best, most important collaborators.
Had you actually, I don't know whether I heard this story correctly, but had you actually
just approached Pat with a guitar?
I sent a letter backstage at one of his concerts.
His road manager came out and found me and I ended up talking to him and they suggested
that we go back to the hotel and take a bunch of guitars and Pat played the whole concert
over again in the room.
Linda handed me her instrument and it was instantaneously a completely different experience
for me and the way the notes went from one register to the next, it was exactly what
it is I'm always looking for, which is it sounds like one instrument and it's very connected.
And her guitars consistently have that and they sound incredible.
Do you send each other drawings when you're working on something?
When we did the Picasso, I kind of drew on a napkin some kind of, like couldn't you do like with
You asked me for guitar with as many strings as possible and then I gave you a drawing
of a whole bunch of strings in a line and you said let's do everywhere.
But I still remember it being like blurred with like a blue sharpie on a napkin.
Hamburger, ketchup and stuff.
Great, I'll make you that and off I went.
And also when I got that guitar from you, I just stared at it for about three years.
I actually didn't quite know what to do with it.
It took me a long time to think, okay well I can do this, I can do that.
I took two pictures of you the first day you had it and the first one you got a big smile
on your face and you look really happy and the next one is you're looking down at it
like oh shit, I have to tune it now.
Did you play fretless 12 string with Kenny Garrett?
I saw you play at the Knitting Factory.
You saw us do the track which is on the live trio record called Counting Texas.
I love that track.
Is that the fretless arch top classical?
Yeah.
The energy on the track is just amazing.
Well that instrument came from, my wife is French but her family is Moroccan and we had
just come from a tour or a trip in Morocco and I played and observed oud players almost
every day which is basically an 11 string fretless nylon string.
And I was like, one of those calls, Linda, how hard would it be?
And we had already done the 6 string fretless which I loved and it's featured a lot.
Well you've really pushed my envelope which I'm incredibly grateful for because you've
made it really easy for me to explore but knowing that basically no matter how far I
go off the request, you're cool with it.
That's also kind of the world that I live in which is to kind of come up with enough
information musically to sort of create an environment for exploration and we've had
really a great time developing some really interesting instruments together that I think
have had a very important place in my life in terms of what I've been able to express
sonically that I would not have gotten to otherwise.
It was great.
It was really fun.
Yeah.
Thank you.
Key:
A
G
Bm
B
C#
A
G
Bm
[G] _ _ [A] _ _ [Bm] _ _ [B] _ [C#] _
[F#m] _ _ [Dm] _ _ [A] _ [E] _ _ [A] _
_ [D] This is Flip Scipio and I'm a guitar repairman and I'm [N] lucky enough to spend a little time
with my old dear friend Linda Manser, genius guitar maker and somebody I greatly admire,
Pat Bethany.
One of the really cool things about going around and playing gigs and having a couple
_ of great guitar makers is that you get to meet great guitar makers and I consider Linda
one of my best, most important collaborators.
Had you actually, I don't know whether I heard this story correctly, but had you actually
just approached Pat with a guitar?
I sent a letter backstage at one of his concerts.
His road manager came out and found me and I ended up talking to him and they suggested
that we go back to the hotel and take a bunch of guitars and Pat played the whole concert
over again in the room.
Linda handed me her instrument and it was instantaneously a completely different experience
for me and the way the notes went from one register to the next, it was exactly what
it is I'm always looking for, which is it sounds like one instrument and it's very connected.
And her guitars consistently have that and they sound incredible.
Do you send each other drawings when you're working on something?
When we did the Picasso, I kind of drew on a napkin some kind of, like couldn't you do like with_
You asked me for guitar with as many strings as possible and then I gave you a drawing
of a whole bunch of strings in a line and you said let's do everywhere.
But I still remember it being like blurred with like a blue sharpie on a napkin.
Hamburger, ketchup and stuff.
Great, I'll make you that and off I went.
And also when I got that guitar from you, I just stared at it for about three years.
I actually didn't quite know what to do with it.
It took me a long time to think, okay well I can do this, I can do that.
I took two pictures of you the first day you had it and the first one you got a big smile
on your face and you look really happy and the next one is you're looking down at it
like oh shit, I have to tune it now.
Did you play fretless 12 string with Kenny Garrett?
I saw you play at the Knitting Factory.
You saw us do the track which is on the live trio record called Counting Texas.
I love that track.
Is that the fretless arch top classical?
Yeah.
The energy on the track is just amazing.
Well that instrument came from, my wife is French but her family is Moroccan and we had
just come from a tour or a trip in Morocco and I played and _ observed oud players almost
every day which is basically an 11 string fretless nylon string.
And I was like, one of those calls, Linda, how hard would it be?
And we had already done the 6 string fretless which I loved and it's featured a lot.
Well you've really pushed my envelope which I'm incredibly grateful for because you've
made it really easy for me to explore but knowing that basically no matter how far I
go off the request, you're cool with it.
_ That's also kind of the world that I live in which is to kind of come up with enough
information musically to sort of create an environment for exploration and we've had
really a great time developing some really interesting instruments together that I think
have had a very important place in my life in terms of what I've been able to express
sonically that I would not have gotten to otherwise.
It was _ great.
It was really fun.
Yeah.
Thank you. _ _
[F#m] _ _ [Dm] _ _ [A] _ [E] _ _ [A] _
_ [D] This is Flip Scipio and I'm a guitar repairman and I'm [N] lucky enough to spend a little time
with my old dear friend Linda Manser, genius guitar maker and somebody I greatly admire,
Pat Bethany.
One of the really cool things about going around and playing gigs and having a couple
_ of great guitar makers is that you get to meet great guitar makers and I consider Linda
one of my best, most important collaborators.
Had you actually, I don't know whether I heard this story correctly, but had you actually
just approached Pat with a guitar?
I sent a letter backstage at one of his concerts.
His road manager came out and found me and I ended up talking to him and they suggested
that we go back to the hotel and take a bunch of guitars and Pat played the whole concert
over again in the room.
Linda handed me her instrument and it was instantaneously a completely different experience
for me and the way the notes went from one register to the next, it was exactly what
it is I'm always looking for, which is it sounds like one instrument and it's very connected.
And her guitars consistently have that and they sound incredible.
Do you send each other drawings when you're working on something?
When we did the Picasso, I kind of drew on a napkin some kind of, like couldn't you do like with_
You asked me for guitar with as many strings as possible and then I gave you a drawing
of a whole bunch of strings in a line and you said let's do everywhere.
But I still remember it being like blurred with like a blue sharpie on a napkin.
Hamburger, ketchup and stuff.
Great, I'll make you that and off I went.
And also when I got that guitar from you, I just stared at it for about three years.
I actually didn't quite know what to do with it.
It took me a long time to think, okay well I can do this, I can do that.
I took two pictures of you the first day you had it and the first one you got a big smile
on your face and you look really happy and the next one is you're looking down at it
like oh shit, I have to tune it now.
Did you play fretless 12 string with Kenny Garrett?
I saw you play at the Knitting Factory.
You saw us do the track which is on the live trio record called Counting Texas.
I love that track.
Is that the fretless arch top classical?
Yeah.
The energy on the track is just amazing.
Well that instrument came from, my wife is French but her family is Moroccan and we had
just come from a tour or a trip in Morocco and I played and _ observed oud players almost
every day which is basically an 11 string fretless nylon string.
And I was like, one of those calls, Linda, how hard would it be?
And we had already done the 6 string fretless which I loved and it's featured a lot.
Well you've really pushed my envelope which I'm incredibly grateful for because you've
made it really easy for me to explore but knowing that basically no matter how far I
go off the request, you're cool with it.
_ That's also kind of the world that I live in which is to kind of come up with enough
information musically to sort of create an environment for exploration and we've had
really a great time developing some really interesting instruments together that I think
have had a very important place in my life in terms of what I've been able to express
sonically that I would not have gotten to otherwise.
It was _ great.
It was really fun.
Yeah.
Thank you. _ _