Chords for George Harrison's Solo on The Beatles "And I Love Her" | Reverb Learn to Play Guitar
Tempo:
106.8 bpm
Chords used:
C#m
F#m
A
B
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F#m] [C#m]
[F#m] [C#m]
[F#m] [C#m]
[A] Hey friends, Joe here at Reverb [B].com and we are taking a dive into some [E] riffs and [C#m] songwriting
techniques of George Harrison.
In this video we will be learning George's guitar work in the verses of And I Love Her.
George's work in this song showcases his more sensitive side, [N] his ability to write a beautiful
part that fits a beautiful song, and it also showcases George's chord theory.
George had such a solid foundation of chord theory and chord structure and he used it.
And if we can tap into a little bit of that and seeing how George used that stuff, it's
really helpful to us.
It's been very helpful to me and I think it will be for you as well.
The verses of And I Love Her, George is basically just using arpeggios of the chords.
So he's
just taking the chords that Paul or John wrote and he's playing the upper structures of those
chords via [F#m] arpeggios.
[C#m]
[F#m] [C#m]
[F#m] [C#m]
[A] [B]
[E] [C#m] Okay, so the chords of the verses are back and forth from F [F#m] sharp minor to C sharp [C#m] minor.
[F#m] [C#m]
It happens three [F#m] times and [C#m]
then it goes [A] A, [B] B7, E, [E] 6 as well.
So George took those chords
and played the upper structure arpeggios.
Just triads, three notes at a time.
The F
sharp minor triad is going to be [F#m] right here and that's root position.
There's your F sharp
right here, [A] your third and your fifth.
[F#m]
You're just sweeping up and then right back down.
Super simple.
And then C sharp minor arpeggio, just barring right [C#m] here.
So these shapes are
super simple to get in and out of as well if you just keep that bar there for the C
sharp minor and you put the F sharp minor on [D#] top of it.
[G#] So that way you get your F sharp
[F#m] minor right here and then just lift those fingers up and you [E] got your bar right there
for the C sharp minor.
[C#m] And
[F#m] [C#m]
then it goes to the A chord, which is right [A] here.
It's your D shape up here on A.
So that's a second inversion arpeggio there.
And then B7 [F#m] right here.
[B] Eleventh fret, tenth
fret on the B, [G#] eleventh [Gm] fret on [B] the E.
And then it goes to actually the same shape as
the C sharp minor arpeggio, [C#m]
but in context [E] that's going to sound like an E because that
E has a 6 in it.
So why would a C sharp minor and an E6 have the same arpeggio?
Think about that.
Okay, I've got the [F#m] chords looped here and I'll play it up to speed.
One, two, one, two,
three, four.
[C#m] [F#m]
[C#m] [F#m]
[C#m] [A]
[B] [E] [C#m]
Okay, now I'll play the low chords, you play the arpeggios.
One, two, one, two, three, [F#m] four.
[C#m]
[F#m] [C#m]
[F#m] [C#m]
[Em] [A] [Em] [B]
[G] [E]
So it's interesting to think about this [N] style may seem compared to what George [G#] could do
and especially what he was doing in the later years solo-wise, this style of simple arpeggiating
seems almost elementary.
But because of Harrison and the Beatles' influence on popular music,
this style inspired guitar players like The Edge and Johnny Marr, these guys who looked
to The Beatles for all this stuff.
And so many players and artists use very simple arpeggios
like this to develop entire songs out of or entire soundscapes.
One more suggestion for more homework is the solo to this song that George plays on a nylon
string guitar is a wonderful ear training exercise.
He basically just mirrors the melody
of the song, the vocal melody.
Because that melody is something that is buried somewhere
in your brain, it's easy for you to hear that and to access it.
And if you can translate
that memory to your fingers and work out that melody, not only is it a beautiful solo to
learn but it's a great [C#m] ear training exercise.
So give it a shot.
Okay, [F#m] thanks for checking out this video on [C#m] the And I Love Her arpeggios from [F#m] George Harrison.
Check out these other George [C#m] Harrison videos we've got going right now.
[F#m] [C#m]
[F#m] [C#m]
[A] Hey friends, Joe here at Reverb [B].com and we are taking a dive into some [E] riffs and [C#m] songwriting
techniques of George Harrison.
In this video we will be learning George's guitar work in the verses of And I Love Her.
George's work in this song showcases his more sensitive side, [N] his ability to write a beautiful
part that fits a beautiful song, and it also showcases George's chord theory.
George had such a solid foundation of chord theory and chord structure and he used it.
And if we can tap into a little bit of that and seeing how George used that stuff, it's
really helpful to us.
It's been very helpful to me and I think it will be for you as well.
The verses of And I Love Her, George is basically just using arpeggios of the chords.
So he's
just taking the chords that Paul or John wrote and he's playing the upper structures of those
chords via [F#m] arpeggios.
[C#m]
[F#m] [C#m]
[F#m] [C#m]
[A] [B]
[E] [C#m] Okay, so the chords of the verses are back and forth from F [F#m] sharp minor to C sharp [C#m] minor.
[F#m] [C#m]
It happens three [F#m] times and [C#m]
then it goes [A] A, [B] B7, E, [E] 6 as well.
So George took those chords
and played the upper structure arpeggios.
Just triads, three notes at a time.
The F
sharp minor triad is going to be [F#m] right here and that's root position.
There's your F sharp
right here, [A] your third and your fifth.
[F#m]
You're just sweeping up and then right back down.
Super simple.
And then C sharp minor arpeggio, just barring right [C#m] here.
So these shapes are
super simple to get in and out of as well if you just keep that bar there for the C
sharp minor and you put the F sharp minor on [D#] top of it.
[G#] So that way you get your F sharp
[F#m] minor right here and then just lift those fingers up and you [E] got your bar right there
for the C sharp minor.
[C#m] And
[F#m] [C#m]
then it goes to the A chord, which is right [A] here.
It's your D shape up here on A.
So that's a second inversion arpeggio there.
And then B7 [F#m] right here.
[B] Eleventh fret, tenth
fret on the B, [G#] eleventh [Gm] fret on [B] the E.
And then it goes to actually the same shape as
the C sharp minor arpeggio, [C#m]
but in context [E] that's going to sound like an E because that
E has a 6 in it.
So why would a C sharp minor and an E6 have the same arpeggio?
Think about that.
Okay, I've got the [F#m] chords looped here and I'll play it up to speed.
One, two, one, two,
three, four.
[C#m] [F#m]
[C#m] [F#m]
[C#m] [A]
[B] [E] [C#m]
Okay, now I'll play the low chords, you play the arpeggios.
One, two, one, two, three, [F#m] four.
[C#m]
[F#m] [C#m]
[F#m] [C#m]
[Em] [A] [Em] [B]
[G] [E]
So it's interesting to think about this [N] style may seem compared to what George [G#] could do
and especially what he was doing in the later years solo-wise, this style of simple arpeggiating
seems almost elementary.
But because of Harrison and the Beatles' influence on popular music,
this style inspired guitar players like The Edge and Johnny Marr, these guys who looked
to The Beatles for all this stuff.
And so many players and artists use very simple arpeggios
like this to develop entire songs out of or entire soundscapes.
One more suggestion for more homework is the solo to this song that George plays on a nylon
string guitar is a wonderful ear training exercise.
He basically just mirrors the melody
of the song, the vocal melody.
Because that melody is something that is buried somewhere
in your brain, it's easy for you to hear that and to access it.
And if you can translate
that memory to your fingers and work out that melody, not only is it a beautiful solo to
learn but it's a great [C#m] ear training exercise.
So give it a shot.
Okay, [F#m] thanks for checking out this video on [C#m] the And I Love Her arpeggios from [F#m] George Harrison.
Check out these other George [C#m] Harrison videos we've got going right now.
Key:
C#m
F#m
A
B
E
C#m
F#m
A
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[A] Hey friends, Joe here at Reverb [B].com and we are taking a dive into some [E] riffs and [C#m] songwriting
techniques of George Harrison.
In this video we will be learning George's guitar work in the verses of And I Love Her.
George's work in this song showcases his more sensitive side, [N] his ability to write a beautiful
part that fits a beautiful song, and it also showcases George's chord theory.
George had such a solid foundation of chord theory and chord structure and he used it.
And if we can tap into a little bit of that and seeing how George used that stuff, it's
really helpful to us.
It's been very helpful to me and I think it will be for you as well.
The verses of And I Love Her, George is basically just using arpeggios of the chords.
So he's
just taking the chords that Paul or John wrote and he's playing the upper structures of those
_ chords via [F#m] arpeggios.
_ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[A] _ _ _ _ [B] _ _ _ _
[E] _ [C#m] _ _ _ Okay, so the chords of the verses are back and forth from F [F#m] sharp minor _ to C sharp [C#m] minor.
_ _ [F#m] _ _ _ _ [C#m] _
It happens three [F#m] times and _ [C#m] _
then it goes [A] A, _ _ _ [B] B7, _ _ _ E, [E] _ 6 as well.
_ _ _ _ _ So George took those chords
and played the upper structure arpeggios.
Just triads, three notes at a time.
The F
sharp minor triad is going to be [F#m] right here _ _ _ _ and that's root position.
There's your F sharp
right here, [A] your third and your fifth.
_ _ [F#m] _
_ You're just sweeping up and then right back down.
Super simple.
_ _ _ _ _ _ And then C sharp minor arpeggio, just barring right [C#m] here. _ _
_ _ _ _ So these shapes are
super simple to get in and out of as well if you just keep that bar there for the C
sharp minor and you put the F sharp minor on [D#] top of it.
[G#] So that way you get your F sharp
[F#m] minor right here and _ _ _ then just lift those fingers up and you [E] got your bar right there
for the C sharp minor.
[C#m] And _ _ _ _
[F#m] _ _ _ _ _ _ [C#m] _ _
_ _ _ then it goes to the A chord, which is right [A] here.
_ It's your D shape up here on A. _
_ _ So that's a second inversion arpeggio there.
_ _ _ _ And then B7 [F#m] right here.
_ [B] _ _ _ _ _ Eleventh fret, tenth
fret on the B, [G#] eleventh [Gm] fret on [B] the E. _ _
_ _ And then it goes to actually the same shape as
the C sharp minor arpeggio, [C#m] _ _ _
but in context [E] that's going to sound like an E because that
E has a 6 in it.
_ _ So why would a C sharp minor and an E6 have the same arpeggio?
Think about that.
_ _ _ _ _ Okay, I've got the [F#m] chords looped here and I'll play it up to speed.
One, two, one, two,
three, four. _ _ _ _
[C#m] _ _ _ _ [F#m] _ _ _ _
[C#m] _ _ _ _ [F#m] _ _ _ _
[C#m] _ _ _ _ [A] _ _ _ _
[B] _ _ _ _ [E] _ [C#m] _ _ _
_ _ Okay, now I'll play the low chords, you play the arpeggios.
One, two, one, two, three, [F#m] four.
_ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ _ [C#m] _ _ _
[Em] _ [A] _ _ _ [Em] _ [B] _ _ _
[G] _ [E] _ _ _ _ _ _ _
_ _ _ So it's interesting to think about this [N] style may seem compared to what George [G#] could do
and especially what he was doing in the later years solo-wise, this style of simple arpeggiating
seems almost elementary.
But because of Harrison and the Beatles' influence on popular music,
this style inspired guitar players like The Edge and Johnny Marr, these guys who looked
to The Beatles for all this stuff.
And so many players and artists use very simple arpeggios
like this to develop entire songs out of or entire soundscapes.
One more suggestion for more homework is the solo to this song that George plays on a nylon
string guitar is a wonderful ear training exercise.
He basically just mirrors the melody
of the song, the vocal melody.
Because that melody is something that is buried somewhere
in your brain, it's easy for you to hear that and to access it.
And if you can translate
that memory to your fingers and work out that melody, not only is it a beautiful solo to
learn but it's a great [C#m] ear training exercise.
So give it a shot.
Okay, [F#m] thanks for checking out this video on [C#m] the And I Love Her arpeggios from [F#m] George Harrison.
Check out these other George [C#m] Harrison videos we've got going right now. _
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[A] Hey friends, Joe here at Reverb [B].com and we are taking a dive into some [E] riffs and [C#m] songwriting
techniques of George Harrison.
In this video we will be learning George's guitar work in the verses of And I Love Her.
George's work in this song showcases his more sensitive side, [N] his ability to write a beautiful
part that fits a beautiful song, and it also showcases George's chord theory.
George had such a solid foundation of chord theory and chord structure and he used it.
And if we can tap into a little bit of that and seeing how George used that stuff, it's
really helpful to us.
It's been very helpful to me and I think it will be for you as well.
The verses of And I Love Her, George is basically just using arpeggios of the chords.
So he's
just taking the chords that Paul or John wrote and he's playing the upper structures of those
_ chords via [F#m] arpeggios.
_ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[A] _ _ _ _ [B] _ _ _ _
[E] _ [C#m] _ _ _ Okay, so the chords of the verses are back and forth from F [F#m] sharp minor _ to C sharp [C#m] minor.
_ _ [F#m] _ _ _ _ [C#m] _
It happens three [F#m] times and _ [C#m] _
then it goes [A] A, _ _ _ [B] B7, _ _ _ E, [E] _ 6 as well.
_ _ _ _ _ So George took those chords
and played the upper structure arpeggios.
Just triads, three notes at a time.
The F
sharp minor triad is going to be [F#m] right here _ _ _ _ and that's root position.
There's your F sharp
right here, [A] your third and your fifth.
_ _ [F#m] _
_ You're just sweeping up and then right back down.
Super simple.
_ _ _ _ _ _ And then C sharp minor arpeggio, just barring right [C#m] here. _ _
_ _ _ _ So these shapes are
super simple to get in and out of as well if you just keep that bar there for the C
sharp minor and you put the F sharp minor on [D#] top of it.
[G#] So that way you get your F sharp
[F#m] minor right here and _ _ _ then just lift those fingers up and you [E] got your bar right there
for the C sharp minor.
[C#m] And _ _ _ _
[F#m] _ _ _ _ _ _ [C#m] _ _
_ _ _ then it goes to the A chord, which is right [A] here.
_ It's your D shape up here on A. _
_ _ So that's a second inversion arpeggio there.
_ _ _ _ And then B7 [F#m] right here.
_ [B] _ _ _ _ _ Eleventh fret, tenth
fret on the B, [G#] eleventh [Gm] fret on [B] the E. _ _
_ _ And then it goes to actually the same shape as
the C sharp minor arpeggio, [C#m] _ _ _
but in context [E] that's going to sound like an E because that
E has a 6 in it.
_ _ So why would a C sharp minor and an E6 have the same arpeggio?
Think about that.
_ _ _ _ _ Okay, I've got the [F#m] chords looped here and I'll play it up to speed.
One, two, one, two,
three, four. _ _ _ _
[C#m] _ _ _ _ [F#m] _ _ _ _
[C#m] _ _ _ _ [F#m] _ _ _ _
[C#m] _ _ _ _ [A] _ _ _ _
[B] _ _ _ _ [E] _ [C#m] _ _ _
_ _ Okay, now I'll play the low chords, you play the arpeggios.
One, two, one, two, three, [F#m] four.
_ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ _ [C#m] _ _ _
[Em] _ [A] _ _ _ [Em] _ [B] _ _ _
[G] _ [E] _ _ _ _ _ _ _
_ _ _ So it's interesting to think about this [N] style may seem compared to what George [G#] could do
and especially what he was doing in the later years solo-wise, this style of simple arpeggiating
seems almost elementary.
But because of Harrison and the Beatles' influence on popular music,
this style inspired guitar players like The Edge and Johnny Marr, these guys who looked
to The Beatles for all this stuff.
And so many players and artists use very simple arpeggios
like this to develop entire songs out of or entire soundscapes.
One more suggestion for more homework is the solo to this song that George plays on a nylon
string guitar is a wonderful ear training exercise.
He basically just mirrors the melody
of the song, the vocal melody.
Because that melody is something that is buried somewhere
in your brain, it's easy for you to hear that and to access it.
And if you can translate
that memory to your fingers and work out that melody, not only is it a beautiful solo to
learn but it's a great [C#m] ear training exercise.
So give it a shot.
Okay, [F#m] thanks for checking out this video on [C#m] the And I Love Her arpeggios from [F#m] George Harrison.
Check out these other George [C#m] Harrison videos we've got going right now. _