Chords for George Barnes Guitar ideas
Tempo:
128.6 bpm
Chords used:
Bb
Ab
G
D
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [Bb] [C]
[Eb]
[C]
[A] [Bb]
[G]
[D] [Ab]
[E] [F]
[Cm] [Bb]
[C] [F]
[C]
[F] [Cm] [G]
[Gm] [Fm]
[Gb] Alright, this is kind of a quick [Bb] teaser and something I've been [N] wanting to do on my favorite guitar player.
I say that a lot, but I really mean it this time.
This is a little bit about George Barnes.
I really wish I could play more like him and I'll probably spend the rest of my life trying
to quote his ideas a little bit better.
For you guys that don't know about him, let me tell you a couple things.
His first recordings with Big Bill Brunzi are really good.
There's a whole series of octet [Eb] recordings that he did when he was a session musician
for I believe NBC and they were produced for the radio.
Very progressive sounding.
Definitely listening that could be a little abrasive if you've never heard anything like that.
Generally, my wife doesn't [Abm] like hearing it, but it doesn't matter to me.
Sounds like Peter and the Wolf on steroids.
Anyway, I tried a couple ideas that I hear George Barnes doing.
I located his method book that he produced in the early 40s and it's all [Ab] based around
a cage [Ab] program where we use [Eb] chord structures and then impose all the tones of the scales
or however you want to treat them [Ab] over those chord formations.
[F]
One thing that's kind of signature [Gb] is he has these great rakes when he plays.
[F] When I start, I play in B flat and I just [Bb] play this B flat major.
All I do is [Gm] I hold the pick and I try to hold it with two to three fingers.
It's kind of hard to see on the camera, but [Gb] if I hold it relatively tightly without it
[G] flexing, I have a very percussive [C] sound to it.
[Bb]
[A] So, [Gb]
the phrases will generally start with a rake.
I'm not saying [Am] always.
He has a ton of [F] different ideas, [Ab] but George Barnes for beginners, I guess, is the [C] best
way to think about it.
[Abm]
[Bb] I think it's what Thumbs [G] Carlisle kind of did when he played, was it [Ab] Springfield Social,
where they [B] talk about all the famous guitar [N] players at the time and George is one of them.
So, when he tries copying George, he kind of does all these [Fm] rakes.
So, anyway, [Bb] so over the one, [Ab] [Bb]
and in the [Gb] middle, I like playing this ghost note [B] where [G] [E]
I might
try [D] to mute or play it open.
[Ab]
[Bb] [Cm]
[Gm] [Bb]
[Eb] So, when I play it [N] fast, you can tell that you can't really hear the tone.
[Dm] [Bm]
[Ab] [D]
[F] Now, when I play the four [Cm] chord, I do the same [Eb] thing where I'm walking up in a tonic
[Bb] to the third.
When I do the C structure, [Eb] which is in his book, for the four, [G] [F] [Cm]
I [Bb] [Ab]
do the same [Gb] thing.
So that [Eb] will work over the one, four, and five and that will kind of give a kind of
an [Ab] automatic George Barnes sound.
The [Bb] other thing is [A] on the second course, I believe I did something where I'm [B] playing
in the A structure.
[Bb] So, I'm playing [E] the A structure [B] and I slide up to the third [Gm] and [F] then I [G] slide [D] up to the tonic.
Slide into the third, to the five, [Ab] six, to the [D] tonic.
[Gb] And what I'm doing is I'm just bending to the, let's see here, the seventh [E] right here.
[G] [Db]
[Ab] [A] And that kind of sounds good.
The other [Ab] thing too is it seems like [F] a lot of the [Bb] sounds tend to be on the ninth.
[Gb] So if you want to bend a note, like if I use in B flat [D] and I'm going to begin a phrase,
[D]
[Eb]
[Dm] [Fm] that kind of [Db] has kind of that sort of [C] sound to it.
[B] [Bb]
[Gm] [Gb] Anyway, I have more ideas [G] I want to share and I'll probably put some out there on the video.
[Bb] But for now, I think this will kind of get you rolling and be about as much as I guess
I want to give [E] away on this [Bb]
[E] installment so far.
[Ab] Because gosh knows I have a ton of stuff [E] I need to study and work with.
So [Em] anyway, I'm going to try to play [Gb]
a short etude out and [G] look forward to talking to you guys soon.
[D]
[Gm] [Bb] [Eb]
[C] [D] [Gm]
[C]
[D] [Eb] [C]
Bye.
[D] Bye.
Bye.
[G]
Bye. Bye. Bye.
Bye. [Gm] Bye. Bye.
[Eb]
[C]
[A] [Bb]
[G]
[D] [Ab]
[E] [F]
[Cm] [Bb]
[C] [F]
[C]
[F] [Cm] [G]
[Gm] [Fm]
[Gb] Alright, this is kind of a quick [Bb] teaser and something I've been [N] wanting to do on my favorite guitar player.
I say that a lot, but I really mean it this time.
This is a little bit about George Barnes.
I really wish I could play more like him and I'll probably spend the rest of my life trying
to quote his ideas a little bit better.
For you guys that don't know about him, let me tell you a couple things.
His first recordings with Big Bill Brunzi are really good.
There's a whole series of octet [Eb] recordings that he did when he was a session musician
for I believe NBC and they were produced for the radio.
Very progressive sounding.
Definitely listening that could be a little abrasive if you've never heard anything like that.
Generally, my wife doesn't [Abm] like hearing it, but it doesn't matter to me.
Sounds like Peter and the Wolf on steroids.
Anyway, I tried a couple ideas that I hear George Barnes doing.
I located his method book that he produced in the early 40s and it's all [Ab] based around
a cage [Ab] program where we use [Eb] chord structures and then impose all the tones of the scales
or however you want to treat them [Ab] over those chord formations.
[F]
One thing that's kind of signature [Gb] is he has these great rakes when he plays.
[F] When I start, I play in B flat and I just [Bb] play this B flat major.
All I do is [Gm] I hold the pick and I try to hold it with two to three fingers.
It's kind of hard to see on the camera, but [Gb] if I hold it relatively tightly without it
[G] flexing, I have a very percussive [C] sound to it.
[Bb]
[A] So, [Gb]
the phrases will generally start with a rake.
I'm not saying [Am] always.
He has a ton of [F] different ideas, [Ab] but George Barnes for beginners, I guess, is the [C] best
way to think about it.
[Abm]
[Bb] I think it's what Thumbs [G] Carlisle kind of did when he played, was it [Ab] Springfield Social,
where they [B] talk about all the famous guitar [N] players at the time and George is one of them.
So, when he tries copying George, he kind of does all these [Fm] rakes.
So, anyway, [Bb] so over the one, [Ab] [Bb]
and in the [Gb] middle, I like playing this ghost note [B] where [G] [E]
I might
try [D] to mute or play it open.
[Ab]
[Bb] [Cm]
[Gm] [Bb]
[Eb] So, when I play it [N] fast, you can tell that you can't really hear the tone.
[Dm] [Bm]
[Ab] [D]
[F] Now, when I play the four [Cm] chord, I do the same [Eb] thing where I'm walking up in a tonic
[Bb] to the third.
When I do the C structure, [Eb] which is in his book, for the four, [G] [F] [Cm]
I [Bb] [Ab]
do the same [Gb] thing.
So that [Eb] will work over the one, four, and five and that will kind of give a kind of
an [Ab] automatic George Barnes sound.
The [Bb] other thing is [A] on the second course, I believe I did something where I'm [B] playing
in the A structure.
[Bb] So, I'm playing [E] the A structure [B] and I slide up to the third [Gm] and [F] then I [G] slide [D] up to the tonic.
Slide into the third, to the five, [Ab] six, to the [D] tonic.
[Gb] And what I'm doing is I'm just bending to the, let's see here, the seventh [E] right here.
[G] [Db]
[Ab] [A] And that kind of sounds good.
The other [Ab] thing too is it seems like [F] a lot of the [Bb] sounds tend to be on the ninth.
[Gb] So if you want to bend a note, like if I use in B flat [D] and I'm going to begin a phrase,
[D]
[Eb]
[Dm] [Fm] that kind of [Db] has kind of that sort of [C] sound to it.
[B] [Bb]
[Gm] [Gb] Anyway, I have more ideas [G] I want to share and I'll probably put some out there on the video.
[Bb] But for now, I think this will kind of get you rolling and be about as much as I guess
I want to give [E] away on this [Bb]
[E] installment so far.
[Ab] Because gosh knows I have a ton of stuff [E] I need to study and work with.
So [Em] anyway, I'm going to try to play [Gb]
a short etude out and [G] look forward to talking to you guys soon.
[D]
[Gm] [Bb] [Eb]
[C] [D] [Gm]
[C]
[D] [Eb] [C]
Bye.
[D] Bye.
Bye.
[G]
Bye. Bye. Bye.
Bye. [Gm] Bye. Bye.
Key:
Bb
Ab
G
D
F
Bb
Ab
G
_ _ _ _ _ _ _ _
_ [E] _ _ [Bb] _ _ _ [C] _ _
_ _ _ _ [Eb] _ _ _ _
_ _ _ _ [C] _ _ _ _
_ _ _ [A] _ _ _ _ [Bb] _
_ _ _ _ [G] _ _ _ _
_ _ [D] _ _ _ _ _ [Ab] _
_ _ [E] _ _ _ _ [F] _ _
_ _ [Cm] _ _ _ _ [Bb] _ _
_ _ _ _ [C] _ _ [F] _ _
_ _ _ [C] _ _ _ _ _
_ [F] _ _ _ [Cm] _ _ [G] _ _
_ _ [Gm] _ _ _ [Fm] _ _ _
_ _ _ _ _ [Gb] Alright, this is kind of a quick [Bb] teaser and something I've been [N] wanting to do on my favorite guitar player.
I say that a lot, but _ I really mean it this time.
This is a little bit about George Barnes. _ _
I really wish I could play more like him and I'll probably spend the rest of my life trying
to _ quote his ideas a little bit better.
_ _ For you guys that don't know about him, let me tell you a couple things.
_ _ His first recordings with Big Bill Brunzi are really good.
There's a whole series of octet [Eb] recordings that he did _ when he was a session musician
for I believe NBC _ and they were produced for the radio. _
_ Very progressive sounding. _ _ _
Definitely listening that could be a little abrasive _ if _ _ you've never heard anything like that.
Generally, my wife doesn't [Abm] like hearing it, but it doesn't matter to me.
Sounds like Peter and the Wolf on steroids.
_ _ _ Anyway, I tried a couple ideas that I hear George Barnes doing.
I _ located his method book that he produced in the early 40s _ and it's all [Ab] based around
a cage [Ab] program _ where we use [Eb] chord structures and then impose all the tones of the scales
or however you want to treat them [Ab] over those chord formations.
[F] _ _
One thing that's kind of signature [Gb] is he has these great rakes when he plays.
[F] When I start, I play in B flat and I just [Bb] play this B flat major.
_ _ All I do is [Gm] I hold the pick and I try to hold it _ _ with two to three fingers.
It's kind of hard to see on the camera, but [Gb] if I hold it relatively tightly without it
[G] flexing, I have a very percussive [C] sound to it.
_ [Bb] _ _ _ _ _
_ [A] So, _ _ _ [Gb] _ _
the phrases will generally start with a rake.
I'm not saying [Am] always.
He has a ton of [F] different ideas, [Ab] but George Barnes for beginners, I guess, is the [C] best
way to think about it.
_ [Abm] _
_ [Bb] _ _ I think it's what Thumbs [G] Carlisle kind of did when he played, was it [Ab] Springfield Social,
_ where they [B] talk about all the famous guitar [N] players at the time and George is one of them.
So, when he tries copying George, he kind of does all these [Fm] rakes.
_ So, anyway, [Bb] so over the one, _ [Ab] _ _ [Bb] _ _ _ _
_ and in the [Gb] middle, I like playing this ghost note _ [B] _ where [G] _ _ [E] _
_ I might
try [D] to mute or play it open. _
_ _ _ _ _ [Ab] _ _ _
_ _ _ [Bb] _ _ _ [Cm] _ _
_ _ [Gm] _ _ _ _ _ [Bb] _
[Eb] So, when I play it [N] fast, you can tell that you can't really hear the tone.
_ [Dm] _ _ _ _ [Bm] _
_ [Ab] _ _ _ _ [D] _ _ _
_ _ _ _ [F] _ Now, when I play the four [Cm] chord, I do the same [Eb] thing where I'm walking up in a tonic
[Bb] to the third.
_ When I do the C structure, [Eb] which is in his book, _ for the four, _ _ [G] _ _ [F] _ _ _ [Cm] _
I _ _ [Bb] _ _ [Ab] _
do the same [Gb] thing.
So that [Eb] will work over the one, four, and five and that will kind of give a _ kind of
an [Ab] automatic George Barnes sound.
The [Bb] other thing is [A] on the second course, I believe I did something where I'm [B] playing
in the A structure.
_ _ _ [Bb] _ _ So, I'm playing [E] the A structure [B] and I slide up to the third _ [Gm] and _ _ [F] then I [G] slide _ _ _ _ [D] up to the tonic. _ _ _ _ _ _ _
Slide into the third, _ to the five, _ _ _ _ [Ab] six, _ to the [D] tonic. _ _ _ _ _ _
_ _ _ _ [Gb] And what I'm doing is I'm just bending to the, let's see here, the seventh [E] right here. _ _ _
_ [G] _ _ _ _ _ _ [Db] _
_ [Ab] _ _ [A] And that kind of sounds good.
The other [Ab] thing too is it seems like [F] a lot of the [Bb] sounds tend to be on the ninth.
[Gb] So if you want to bend a note, like if I use in B flat [D] and I'm going to begin a phrase,
_ [D] _
_ _ _ _ [Eb] _ _ _ _
_ _ [Dm] _ _ _ [Fm] _ that kind of [Db] has kind of that sort of [C] sound to it. _ _
_ _ [B] _ [Bb] _ _ _ _ _
_ _ [Gm] _ [Gb] Anyway, I _ have more ideas [G] I want to share and I'll probably put some out there on the video.
[Bb] But for now, I think this will kind of get you rolling and be about _ as much as I guess
I want to give [E] away on this [Bb] _
[E] installment so far.
[Ab] Because gosh knows I have a ton of stuff [E] I need to study and work with.
So [Em] anyway, I'm going to try to play [Gb] _
a short etude out and [G] look forward to talking to you guys soon.
_ _ _ [D] _ _ _ _
[Gm] _ _ [Bb] _ _ _ _ _ [Eb] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ [D] _ _ [Gm] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ _ _
_ [D] _ _ _ [Eb] _ _ [C] _
Bye.
_ [D] Bye.
Bye.
_ [G]
Bye. Bye. Bye.
Bye. [Gm] Bye. Bye. _ _ _
_ [E] _ _ [Bb] _ _ _ [C] _ _
_ _ _ _ [Eb] _ _ _ _
_ _ _ _ [C] _ _ _ _
_ _ _ [A] _ _ _ _ [Bb] _
_ _ _ _ [G] _ _ _ _
_ _ [D] _ _ _ _ _ [Ab] _
_ _ [E] _ _ _ _ [F] _ _
_ _ [Cm] _ _ _ _ [Bb] _ _
_ _ _ _ [C] _ _ [F] _ _
_ _ _ [C] _ _ _ _ _
_ [F] _ _ _ [Cm] _ _ [G] _ _
_ _ [Gm] _ _ _ [Fm] _ _ _
_ _ _ _ _ [Gb] Alright, this is kind of a quick [Bb] teaser and something I've been [N] wanting to do on my favorite guitar player.
I say that a lot, but _ I really mean it this time.
This is a little bit about George Barnes. _ _
I really wish I could play more like him and I'll probably spend the rest of my life trying
to _ quote his ideas a little bit better.
_ _ For you guys that don't know about him, let me tell you a couple things.
_ _ His first recordings with Big Bill Brunzi are really good.
There's a whole series of octet [Eb] recordings that he did _ when he was a session musician
for I believe NBC _ and they were produced for the radio. _
_ Very progressive sounding. _ _ _
Definitely listening that could be a little abrasive _ if _ _ you've never heard anything like that.
Generally, my wife doesn't [Abm] like hearing it, but it doesn't matter to me.
Sounds like Peter and the Wolf on steroids.
_ _ _ Anyway, I tried a couple ideas that I hear George Barnes doing.
I _ located his method book that he produced in the early 40s _ and it's all [Ab] based around
a cage [Ab] program _ where we use [Eb] chord structures and then impose all the tones of the scales
or however you want to treat them [Ab] over those chord formations.
[F] _ _
One thing that's kind of signature [Gb] is he has these great rakes when he plays.
[F] When I start, I play in B flat and I just [Bb] play this B flat major.
_ _ All I do is [Gm] I hold the pick and I try to hold it _ _ with two to three fingers.
It's kind of hard to see on the camera, but [Gb] if I hold it relatively tightly without it
[G] flexing, I have a very percussive [C] sound to it.
_ [Bb] _ _ _ _ _
_ [A] So, _ _ _ [Gb] _ _
the phrases will generally start with a rake.
I'm not saying [Am] always.
He has a ton of [F] different ideas, [Ab] but George Barnes for beginners, I guess, is the [C] best
way to think about it.
_ [Abm] _
_ [Bb] _ _ I think it's what Thumbs [G] Carlisle kind of did when he played, was it [Ab] Springfield Social,
_ where they [B] talk about all the famous guitar [N] players at the time and George is one of them.
So, when he tries copying George, he kind of does all these [Fm] rakes.
_ So, anyway, [Bb] so over the one, _ [Ab] _ _ [Bb] _ _ _ _
_ and in the [Gb] middle, I like playing this ghost note _ [B] _ where [G] _ _ [E] _
_ I might
try [D] to mute or play it open. _
_ _ _ _ _ [Ab] _ _ _
_ _ _ [Bb] _ _ _ [Cm] _ _
_ _ [Gm] _ _ _ _ _ [Bb] _
[Eb] So, when I play it [N] fast, you can tell that you can't really hear the tone.
_ [Dm] _ _ _ _ [Bm] _
_ [Ab] _ _ _ _ [D] _ _ _
_ _ _ _ [F] _ Now, when I play the four [Cm] chord, I do the same [Eb] thing where I'm walking up in a tonic
[Bb] to the third.
_ When I do the C structure, [Eb] which is in his book, _ for the four, _ _ [G] _ _ [F] _ _ _ [Cm] _
I _ _ [Bb] _ _ [Ab] _
do the same [Gb] thing.
So that [Eb] will work over the one, four, and five and that will kind of give a _ kind of
an [Ab] automatic George Barnes sound.
The [Bb] other thing is [A] on the second course, I believe I did something where I'm [B] playing
in the A structure.
_ _ _ [Bb] _ _ So, I'm playing [E] the A structure [B] and I slide up to the third _ [Gm] and _ _ [F] then I [G] slide _ _ _ _ [D] up to the tonic. _ _ _ _ _ _ _
Slide into the third, _ to the five, _ _ _ _ [Ab] six, _ to the [D] tonic. _ _ _ _ _ _
_ _ _ _ [Gb] And what I'm doing is I'm just bending to the, let's see here, the seventh [E] right here. _ _ _
_ [G] _ _ _ _ _ _ [Db] _
_ [Ab] _ _ [A] And that kind of sounds good.
The other [Ab] thing too is it seems like [F] a lot of the [Bb] sounds tend to be on the ninth.
[Gb] So if you want to bend a note, like if I use in B flat [D] and I'm going to begin a phrase,
_ [D] _
_ _ _ _ [Eb] _ _ _ _
_ _ [Dm] _ _ _ [Fm] _ that kind of [Db] has kind of that sort of [C] sound to it. _ _
_ _ [B] _ [Bb] _ _ _ _ _
_ _ [Gm] _ [Gb] Anyway, I _ have more ideas [G] I want to share and I'll probably put some out there on the video.
[Bb] But for now, I think this will kind of get you rolling and be about _ as much as I guess
I want to give [E] away on this [Bb] _
[E] installment so far.
[Ab] Because gosh knows I have a ton of stuff [E] I need to study and work with.
So [Em] anyway, I'm going to try to play [Gb] _
a short etude out and [G] look forward to talking to you guys soon.
_ _ _ [D] _ _ _ _
[Gm] _ _ [Bb] _ _ _ _ _ [Eb] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ [D] _ _ [Gm] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ _ _
_ [D] _ _ _ [Eb] _ _ [C] _
Bye.
_ [D] Bye.
Bye.
_ [G]
Bye. Bye. Bye.
Bye. [Gm] Bye. Bye. _ _ _