Chords for George Duke + Greg Phillinganes - "Behind the Scenes"

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_ _ [Abm] _ _ _ _ Well, you know, it's only because he's the cuter one.
I think that's it.
Yeah, right.
When I was first approached about this, I said, you know what?
I really want to go down and do this.
I want to hear what this is, because I knew it was going to be great.
I love what you've done with the place.
Oh, thank you very much.
I got to tell you, _ it's the kind of situation
where I would have paid to be involved.
As a matter of fact, I think I did pay.
This is the studio [Em] base.
_ [F] _ [Gm] _
_ _ _ Mm.
_ [C] _ [E] _
[F] _ _ [Bb] You _ _ _ [Am] know, you're going to just be like, oh, [G] you're really hitting me.
[N] I don't know why, but you know.
The electric bass, the studio bass, was absolutely amazing.
It's very high tech in terms of the way it sounds.
It sounds like a real bass.
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_ _ I can't wait to see the look on Stanley, Marcus, all of them.
Victor, they're going to be so pissed.
I have on pedals, I have set up different articulations.
So on the sustain pedals, I've got slap, [D] so I can go. _ _ _
_ [C] _ _ [D] _ _ _ _ _
[F] The foot switch, [Db] you know, I wasn't sure.
So I asked him a question when he first came out.
I got a question.
_ You've got a lot of this stuff on the pedals.
Is there an option where you can [N] do this with key switches? _
I was pleased enough to find out that it was possible to do that.
And I was on the spot.
This was not planned.
He just said, yeah, take this, and you go here.
And I'll show you how quickly you can change it.
_ If you play hard, you know, like bop, is that a possibility?
I've got that, too.
Look at this guy. There's more. _ _
He's managed to create something that's flexible and is very playable.
That's the great thing about his stuff is that it seems like he looks at it from a [G] performer's standpoint.
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[D] _ _ _ [Am] _ [F] _ [Em] _ [Bm] _
Another good feature on this [F] instrument is the fact that you're [E] taking two notes, I think up to a major third or a minor third.
You can actually slide up to those notes by holding one note down and [F] sliding up to the next note.
That's very cool because then [D] it's very natural and [Am] real.
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_ [Gb] _ _ [G] _ _ [A] You have the same mechanics that are involved in natural bass playing.
It allows you as a keyboard player to totally _ _ [C] get in that character.
[D] _ _
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_ _ _ [Bm] _ _ [Em] _ _ _
[Gb] _ _ _ [D] _ _ _ _ _
_ [Em] _ The Kusi bass is actually a great instrument.
But virtually, to make a great reproduction of that instrument has got to be a huge challenge. _
And then to make the instrument flexible where it's playable as well has got to be another immense challenge.
And I think that's something that's actually been accomplished here.
[D] _ _ _ [C] _ [G] _ _ _ [F] _
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_ [Eb] _ _ _ _ [Cm] _ _ [N]
There were people in the playback here who were saying they could watch me play.
But then when they stopped watching me play, [Ebm] they ceased to realize that it was actually a keyboard player playing.
And that's some serious stuff right there. _
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[Ab] As _ [Gb] _ _ [Db] _ _ [Eb] _
_ a keyboard player, I've never played the Chapman stick.
However, I played with a bass player that played the stick.
This has gone, I think, a step further.
By myself and Greg Phillinganes playing together, you know, with like a lead sound and an accompaniment sound with the bass.
[Dbm] We were able to delve into some other areas that I don't even think a Chapman stick might be able to do, you know, which is very cool.
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It _ _ _ [Ab] _ really brings out the musicianship in [Bb] you.
The feeling in your fingers, you really forget that you're playing a keyboard, you know.
And _ because of what you're listening to, you just _ approach it a completely different way.
You know, you approach it like a bass player, which is the whole point. _ _ _ _
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_ _ _ _ The acoustic bass, the Chapman stick and the studio bass, all three of those instruments have that [A] same [Bm] _ interesting quality about it.
It's that they sound so good that they make you want to play.
That's the great thing about [A] not only these instruments, [D] but really, I think, about this [A] company.
_ _ [Gbm] _ [Bm] _ _
_ Lo and behold from Trillian, it's awesome.
It really is [Am] fantastic.
I'm going to do a solo bass album.
That's what I'm going to do.
Greg Phillinganes' solo bass.
[Bm]
I never see that coming.
[D] _ _ _ _ _
_ _ _ [A] _ [Dm] _ _ [Gb] [D] Everything _ [A] _ _ _ that comes out of this company seems to be great.
It really does.
This was a wonderful day to come [Eb] in and [A] hear some new instruments, have fun just jamming, you know, had a nice lunch.
I mean, what more can you ask?
Music, food, [Eb] and now a little wine.
[A] _ _ _ _ _ [Bm] _
[E] _ _ [A] _ _ _ _ _ _
[Bm] I'm just going to take a sip.
[Am] _ _ _ [Eb] _ _
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[Eb] _ _ [A] _ [D] _ _ _ _ _
_ _ Thank _ _ _ _
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_ [D] _ _ _ [Dm] _ _ _ _
_ [E] _ [C] you _ _ _ _
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[Dm] _ _ _ _ _ _ _ [Db] _
very [N] much.
_ _ Good night, ladies and gentlemen.
_ _ I'll be at the Merch booth if you want to buy a CD.
Thank you, L.A.
_ No, Detroit.
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I just want to piss off all my bass player friends.
I just want to take it man and just
make them mad.
You know, everybody, all of them man.
Just line them up and say,
Stanley this is for you.
_ You know, Reggie Hamilton's for you.
Reggie McBride,
this is for you.
_ Marcus Miller especially, this is really for you.
Just line them all up and just
piss them off, you know.
I'm gonna get them man.
I'm gonna call them up and say, you know what bro,
it's been nice, but I just don't need you anymore, quite frankly, because I got a trillion man and
we are like this, you know.
So you better learn keyboards bro.
You better get something together
because it's over. _ _