Chords for David Garrett: TIMELESS - Brahms & Bruch Violin Concertos Album Trailer
Tempo:
116.2 bpm
Chords used:
D
Eb
G
Gm
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Ab] Well,
[Bb] [Eb]
[Fm] it's first [Gm] of all a big honor [Eb] to be performing and recording [Cm] the Bruch Concerto
and [Gm] Brahms with [Ab] Zubin Mehta and Israel Philharmonic.
I remember [Fm] listening when I was a little kid to a lot of great musicians [D] combining those
two [Eb] concertos on a record.
[D] For me it's a [Cm] wonderful opportunity [D] to also have this tradition.
[Eb] First [D] and foremost I did ask Zubin [Eb] if he would be up for recording [Bb] the Brahms Concerto.
I have quite a history with him.
I performed the first time with him when I was I think [Gm] 12 years old in Munich and I [F] performed
a few times with him in [Fm] the last 20 years.
[Bb] Well, David came to my attention [Ab] and I saw and heard immediately [Eb] what a really unusual
[F] talent it was because for a [Fm] young person to be so musically mature [A] immediately struck me.
For me it was somebody I really wanted to work again [Bb] together with.
Once he [C] agreed, he suggested to [D] do it with the Israel Philharmonic.
[Bm] [A]
[D] [E] [A]
[D] [Gm]
[Cm] [Gm] [C]
[D] I've performed a few times in the past with them and it's always a challenge.
[G] They are a great [Ab] orchestra.
They know [Gm] music.
So you have [C] to be at the [D] top of your game.
[F] [G]
[C] [D]
[C] [B]
[A] [D] For me to have their [G] approval that they like working with me is quite big.
[Gm] [Fm] [F] [D]
[Fm] [Bb]
[Eb]
[Ab]
[Ab] [Eb]
[Fm]
[Gm] [Eb] [Cm] The Beethoven [G] Concerto as well as the Brahms Concerto have [Eb] a very, very long introduction,
tutti, by the orchestra.
So basically you stand there on stage and you get into the music.
[Ab] On the one hand it's good because [E] you absorb it, [A] but of course it's a challenge because
for the [D] first two and a half, three minutes you don't get to play the violin.
So it takes a lot of confidence to then basically go into the concerto with full energy.
[G]
[Bm] [G]
[Am] The third [D] movement of the Bruch [A] Concerto is I think one of [Gb] those very exciting [A] but also
fun pieces, not [D] only to perform but also for the audience.
[C]
I'm very impressed of how true to the [Am] intentions of the composer he plays it.
He uses his technique and his [D] beautiful sound to [G] serve the music [Dm] he's playing.
[G] That's very important.
[C] I think every violinist has first of all [D] their own sound, their own way of phrasing something,
but in the end all that matters is what the composer wrote.
So that's my main [Em] interest.
And then in the end [A] you put your sound and your [D] interpretation on top of it, but of course
in the guidelines [G] of what is written.
[D] [G]
[D]
[N]
[Bb] [Eb]
[Fm] it's first [Gm] of all a big honor [Eb] to be performing and recording [Cm] the Bruch Concerto
and [Gm] Brahms with [Ab] Zubin Mehta and Israel Philharmonic.
I remember [Fm] listening when I was a little kid to a lot of great musicians [D] combining those
two [Eb] concertos on a record.
[D] For me it's a [Cm] wonderful opportunity [D] to also have this tradition.
[Eb] First [D] and foremost I did ask Zubin [Eb] if he would be up for recording [Bb] the Brahms Concerto.
I have quite a history with him.
I performed the first time with him when I was I think [Gm] 12 years old in Munich and I [F] performed
a few times with him in [Fm] the last 20 years.
[Bb] Well, David came to my attention [Ab] and I saw and heard immediately [Eb] what a really unusual
[F] talent it was because for a [Fm] young person to be so musically mature [A] immediately struck me.
For me it was somebody I really wanted to work again [Bb] together with.
Once he [C] agreed, he suggested to [D] do it with the Israel Philharmonic.
[Bm] [A]
[D] [E] [A]
[D] [Gm]
[Cm] [Gm] [C]
[D] I've performed a few times in the past with them and it's always a challenge.
[G] They are a great [Ab] orchestra.
They know [Gm] music.
So you have [C] to be at the [D] top of your game.
[F] [G]
[C] [D]
[C] [B]
[A] [D] For me to have their [G] approval that they like working with me is quite big.
[Gm] [Fm] [F] [D]
[Fm] [Bb]
[Eb]
[Ab]
[Ab] [Eb]
[Fm]
[Gm] [Eb] [Cm] The Beethoven [G] Concerto as well as the Brahms Concerto have [Eb] a very, very long introduction,
tutti, by the orchestra.
So basically you stand there on stage and you get into the music.
[Ab] On the one hand it's good because [E] you absorb it, [A] but of course it's a challenge because
for the [D] first two and a half, three minutes you don't get to play the violin.
So it takes a lot of confidence to then basically go into the concerto with full energy.
[G]
[Bm] [G]
[Am] The third [D] movement of the Bruch [A] Concerto is I think one of [Gb] those very exciting [A] but also
fun pieces, not [D] only to perform but also for the audience.
[C]
I'm very impressed of how true to the [Am] intentions of the composer he plays it.
He uses his technique and his [D] beautiful sound to [G] serve the music [Dm] he's playing.
[G] That's very important.
[C] I think every violinist has first of all [D] their own sound, their own way of phrasing something,
but in the end all that matters is what the composer wrote.
So that's my main [Em] interest.
And then in the end [A] you put your sound and your [D] interpretation on top of it, but of course
in the guidelines [G] of what is written.
[D] [G]
[D]
[N]
Key:
D
Eb
G
Gm
A
D
Eb
G
_ _ _ _ _ _ _ _
[Ab] _ _ Well, _ _ _ _
_ _ _ _ [Bb] _ _ [Eb] _ _
_ [Fm] it's first [Gm] of all a big honor [Eb] to be performing and recording [Cm] the Bruch Concerto
and [Gm] Brahms with [Ab] Zubin Mehta and Israel Philharmonic.
I remember [Fm] listening when I was a little kid to a lot of great musicians _ [D] combining those
two [Eb] concertos on a record.
[D] For me it's a [Cm] wonderful opportunity [D] to also have this tradition. _
_ _ [Eb] _ _ _ First [D] and foremost I did ask Zubin [Eb] if he would be up for recording [Bb] the Brahms Concerto.
I have quite a history with him.
I performed the first time with him when I was I think [Gm] 12 years old in Munich and I [F] performed
a few times with him in [Fm] the last 20 years.
[Bb] Well, David came to my attention [Ab] and I saw and heard immediately [Eb] what a really unusual
[F] talent it was because for a [Fm] young person to be so musically mature [A] immediately struck me.
For me it was somebody I really wanted to work again [Bb] together with.
Once he [C] agreed, he suggested to [D] do it with the Israel Philharmonic. _ _ _ _
_ [Bm] _ _ _ [A] _ _ _ _
_ [D] _ _ _ [E] _ _ _ [A] _
_ _ [D] _ _ _ _ [Gm] _ _
_ [Cm] _ _ _ [Gm] _ _ _ [C] _
_ [D] I've performed a few times in the past with them and it's always a challenge.
[G] They are a great [Ab] orchestra.
They know [Gm] music.
So you have [C] to be at the [D] top of your game. _ _
_ [F] _ _ [G] _ _ _ _ _
_ [C] _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ [B] _ _
[A] _ _ [D] _ For me to have their [G] approval that they like working with me is _ quite big. _
[Gm] _ _ [Fm] _ _ [F] _ _ _ [D] _
_ [Fm] _ _ _ [Bb] _ _ _ _
_ _ _ _ _ _ [Eb] _ _
_ _ _ _ _ _ [Ab] _ _
_ [Ab] _ _ _ _ _ _ [Eb] _
_ _ _ _ _ _ [Fm] _ _
[Gm] _ _ [Eb] _ _ _ _ [Cm] The Beethoven [G] Concerto as well as the Brahms Concerto have [Eb] a very, very long introduction,
tutti, by the orchestra.
So basically you stand there on stage and you get into the music.
[Ab] On the one hand it's good because [E] you absorb it, [A] but of course it's a challenge because
for the [D] first two and a half, three minutes you don't get to play the violin.
So it takes a lot of confidence to then basically go into the concerto with full energy.
_ [G] _ _
_ _ _ _ _ _ _ _
[Bm] _ _ _ _ _ _ _ [G] _
_ [Am] _ The third [D] movement of the Bruch [A] Concerto is I think one of [Gb] those very exciting [A] but also
fun pieces, not [D] only to perform but also for the audience.
_ _ [C] _
_ _ I'm very impressed of how true to the [Am] intentions of the composer he plays it.
He uses his technique and his [D] beautiful sound to [G] serve the music [Dm] he's playing.
[G] That's very important.
[C] I think every violinist has first of all [D] their own sound, their own way of phrasing something,
but in the end all that matters is what the composer wrote.
So that's my main [Em] _ _ interest.
And then in the end [A] you put your sound and your [D] interpretation on top of it, but of course
in the guidelines [G] of what is written.
_ _ [D] _ _ _ _ _ [G] _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [N] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Ab] _ _ Well, _ _ _ _
_ _ _ _ [Bb] _ _ [Eb] _ _
_ [Fm] it's first [Gm] of all a big honor [Eb] to be performing and recording [Cm] the Bruch Concerto
and [Gm] Brahms with [Ab] Zubin Mehta and Israel Philharmonic.
I remember [Fm] listening when I was a little kid to a lot of great musicians _ [D] combining those
two [Eb] concertos on a record.
[D] For me it's a [Cm] wonderful opportunity [D] to also have this tradition. _
_ _ [Eb] _ _ _ First [D] and foremost I did ask Zubin [Eb] if he would be up for recording [Bb] the Brahms Concerto.
I have quite a history with him.
I performed the first time with him when I was I think [Gm] 12 years old in Munich and I [F] performed
a few times with him in [Fm] the last 20 years.
[Bb] Well, David came to my attention [Ab] and I saw and heard immediately [Eb] what a really unusual
[F] talent it was because for a [Fm] young person to be so musically mature [A] immediately struck me.
For me it was somebody I really wanted to work again [Bb] together with.
Once he [C] agreed, he suggested to [D] do it with the Israel Philharmonic. _ _ _ _
_ [Bm] _ _ _ [A] _ _ _ _
_ [D] _ _ _ [E] _ _ _ [A] _
_ _ [D] _ _ _ _ [Gm] _ _
_ [Cm] _ _ _ [Gm] _ _ _ [C] _
_ [D] I've performed a few times in the past with them and it's always a challenge.
[G] They are a great [Ab] orchestra.
They know [Gm] music.
So you have [C] to be at the [D] top of your game. _ _
_ [F] _ _ [G] _ _ _ _ _
_ [C] _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ [B] _ _
[A] _ _ [D] _ For me to have their [G] approval that they like working with me is _ quite big. _
[Gm] _ _ [Fm] _ _ [F] _ _ _ [D] _
_ [Fm] _ _ _ [Bb] _ _ _ _
_ _ _ _ _ _ [Eb] _ _
_ _ _ _ _ _ [Ab] _ _
_ [Ab] _ _ _ _ _ _ [Eb] _
_ _ _ _ _ _ [Fm] _ _
[Gm] _ _ [Eb] _ _ _ _ [Cm] The Beethoven [G] Concerto as well as the Brahms Concerto have [Eb] a very, very long introduction,
tutti, by the orchestra.
So basically you stand there on stage and you get into the music.
[Ab] On the one hand it's good because [E] you absorb it, [A] but of course it's a challenge because
for the [D] first two and a half, three minutes you don't get to play the violin.
So it takes a lot of confidence to then basically go into the concerto with full energy.
_ [G] _ _
_ _ _ _ _ _ _ _
[Bm] _ _ _ _ _ _ _ [G] _
_ [Am] _ The third [D] movement of the Bruch [A] Concerto is I think one of [Gb] those very exciting [A] but also
fun pieces, not [D] only to perform but also for the audience.
_ _ [C] _
_ _ I'm very impressed of how true to the [Am] intentions of the composer he plays it.
He uses his technique and his [D] beautiful sound to [G] serve the music [Dm] he's playing.
[G] That's very important.
[C] I think every violinist has first of all [D] their own sound, their own way of phrasing something,
but in the end all that matters is what the composer wrote.
So that's my main [Em] _ _ interest.
And then in the end [A] you put your sound and your [D] interpretation on top of it, but of course
in the guidelines [G] of what is written.
_ _ [D] _ _ _ _ _ [G] _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [N] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _