Chords for Hilary Hahn, Grave, Violin Sonata No. 2 - BACH & friends - Michael Lawrence Films

Tempo:
132.55 bpm
Chords used:

E

A

G

Am

C

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Hilary Hahn, Grave, Violin Sonata No. 2  - BACH & friends - Michael Lawrence Films chords
Start Jamming...
[Am] [C]
[G] [Dm]
[Fm] [A]
[Am] I always [Em] felt an [Dm] affinity with Bach's solo [Ab] violin [Abm] music.
[A]
[Gb] [E]
[Bb] A lot of people forget, I [C] think, that Bach was so active as a [Am] violinist, [Bb] and he got his
first job as a [C] violinist.
[Bb] [Dm] Bach, I find, to be a very progressive composer, [Gm] an active [Em]
proponent [F] of innovation.
[G] [A] [E]
[Am] [G] His use of chromaticism and his invention of line [Dm] within harmony is [Fm] really [Am] very imaginative,
and I wonder how it was perceived in his [E] time.
[C] [Eb] [F]
[C] [F]
[C] [G] [C]
I think, actually, he was [Am] quite out there.
He was [Bb] experimenting very much [E] like someone
like Schoenberg.
[Dm] Most [Ab] people think of Schoenberg as an academic composer, [Dbm] [Am] as a method composer,
but [E] I don't think either [Gbm] of them intended to [Gb] be methodical.
I think they were writing
what they felt, [Ab] and I think they were giving themselves structures so that [Em] they would be
even freer to write.
[B] [Em]
[E] And the pure [D] emotional nature of both [E] of their music is often quite [G] overlooked.
[Db]
[G] [A] [Ab]
[Em] [Am]
[G] [D]
[Bb] [Eb] Sometimes the most [G] mathematical-seeming music is [D] actually the most liberating [Em] to play, because
you have certain [B] structures set out for you, you have the groundwork all [E] clearly laid,
and then you really have to be creative, you really have to invent something in your interpretation.
[A]
[Ab] I think, [Am] technically, Bach is definitely a [E] touchstone, because [C] you can't get away with
[A] faking it.
You really have to do [Eb] it all the way.
[E]
[Bbm] [A] I have to phrase each voice [C] separately.
It's one line [A] that's not effective [Dm] or not integral
to the interpretation can [Am] really skew [Bb] everything in the [E] [Dm] listener's ear, so [E] it's [Dbm] [Bb] tricky.
[D]
[Ab] [Dm] But I [Eb] have to think about these [B] [E] lines [Bb] converging [E] and weaving in and out.
It gives [Eb] me a chance
to [E] dive beneath and really find [Bb]
the [Em] core elements that appeal to me, [Fm] so that I can [Bb] work with that
and make it something very [E] personal for me, and hopefully something very [D] personal for the audience as well.
[Dm]
[Em] [G]
I really feel like my [Em] job is to interpret it and [G] pass it on, and I feel [E] that back from them.
When it's being received well, I do [F] feel [E] that, and it's [Am] a wonderful reciprocal feeling, [Dm] and it is magical.
[E] It's very meditative, [D] actually, to play Bach to a crowd that's really listening.
[Ab] [E]
[B] [E] [Dbm]
[A] [Bbm] [A] [Em]
[C]
[B] [D] [G] [Abm]
[Am] [E]
[C] [G]
[Cm] [F] [A]
[E] [A]
[C] [Dm] [C]
[Bm] [A]
[Ab] [F]
[G] [Em]
[F] [E] [D]
[Am] [F] [A]
[Dm]
[Gb] [B]
[E]
[Gb] [B]
[G] [Gb] [A] [D]
[E] [A] [Gbm] [B]
[Gm] [A] [D] [G]
[A] [D] [E] [Gbm]
[D] [E] [A]
Key:  
E
2311
A
1231
G
2131
Am
2311
C
3211
E
2311
A
1231
G
2131
Show All Diagrams
Chords
NotesBeta
Download PDF
Download Midi
Edit This Version
Hide Lyrics Hint
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Am] _ _ [C] _ _ _ _ _
_ [G] _ _ _ _ _ [Dm] _ _
_ [Fm] _ [A] _ _ _ _ _ _
[Am] I always [Em] felt an [Dm] affinity with Bach's solo [Ab] violin [Abm] music.
_ _ _ [A] _ _ _
_ _ _ _ _ [Gb] _ _ [E] _
[Bb] A lot of people forget, I [C] think, that Bach was so active as a [Am] violinist, _ _ _ [Bb] and he got his
first job as a [C] violinist. _ _
_ _ _ _ _ _ _ _
_ _ [Bb] _ _ [Dm] _ Bach, I find, to be a very progressive composer, _ [Gm] an active [Em]
proponent [F] of innovation.
[G] _ [A] _ [E] _ _ _
_ [Am] _ _ _ [G] His use of chromaticism and his invention of line [Dm] within harmony is _ [Fm] really [Am] very imaginative,
and I wonder how it was perceived in his [E] time. _
[C] _ _ _ [Eb] _ _ _ [F] _ _
_ _ _ _ _ _ _ _
_ [C] _ _ _ _ [F] _ _ _
[C] _ _ _ _ [G] _ _ [C] _ _
_ _ _ _ _ I think, actually, he was [Am] quite out there.
He was [Bb] experimenting very much [E] like someone
like Schoenberg.
_ _ [Dm] Most [Ab] people think of Schoenberg as an academic composer, [Dbm] [Am] as a method composer,
but [E] I don't think either [Gbm] of them intended to [Gb] be methodical.
I think they were writing
what they felt, [Ab] and I think they were giving themselves structures so that [Em] they would be
even freer to write.
_ _ [B] _ _ _ _ [Em] _
_ _ [E] _ And the pure [D] emotional nature of both [E] of their music is often quite [G] overlooked.
_ _ _ [Db] _ _ _
_ _ [G] _ [A] _ _ [Ab] _ _ _
_ _ [Em] _ _ _ _ [Am] _ _
_ [G] _ _ _ _ _ [D] _ _
_ [Bb] _ _ _ _ _ [Eb] Sometimes the most [G] mathematical-seeming music is [D] actually the most liberating [Em] to play, because
you have certain [B] structures set out for you, you have the groundwork all [E] clearly laid,
and then you really have to be creative, you really have to invent something in your interpretation.
[A] _ _ _
[Ab] _ _ I think, [Am] technically, Bach is definitely a [E] touchstone, because [C] you can't get away with
[A] faking it.
You really have to do [Eb] it all the way.
_ [E] _ _
_ [Bbm] _ _ [A] _ I have to phrase each voice [C] separately.
It's one line [A] that's not effective [Dm] or not integral
to the interpretation can [Am] really skew [Bb] everything in the [E] [Dm] listener's ear, so [E] it's [Dbm] _ [Bb] tricky.
[D] _ _ _
[Ab] _ [Dm] But I [Eb] have to think about these [B] [E] lines [Bb] converging [E] and weaving in and out.
It gives [Eb] me a chance
to [E] dive beneath and really find [Bb]
the [Em] core elements that appeal to me, [Fm] so that I can [Bb] work with that
and make it something very [E] personal for me, and hopefully something very [D] personal for the audience as well. _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ _ _ [Em] _ _ [G] _ _ _
I really feel like my [Em] job is to interpret it and [G] pass it on, and I feel [E] that back from them.
When it's being received well, I do [F] feel [E] that, and it's [Am] a wonderful reciprocal feeling, [Dm] and it is magical.
[E] It's very meditative, [D] actually, to play Bach to a crowd that's really listening.
[Ab] _ _ _ _ [E] _ _ _ _ _ _ _
[B] _ _ _ _ _ [E] _ _ [Dbm] _
_ _ [A] _ _ [Bbm] _ [A] _ _ [Em] _
_ _ _ _ _ [C] _ _ _
[B] _ [D] _ _ _ [G] _ _ [Abm] _ _
_ [Am] _ _ _ _ [E] _ _ _
_ _ _ [C] _ _ [G] _ _ _
[Cm] _ [F] _ _ _ _ _ [A] _ _
_ [E] _ [A] _ _ _ _ _ _
[C] _ _ _ [Dm] _ _ _ _ [C] _
_ _ _ _ [Bm] _ _ [A] _ _
_ _ _ _ _ [Ab] _ [F] _ _
_ [G] _ _ _ _ _ _ [Em] _
_ [F] _ _ _ [E] _ _ _ [D] _
_ [Am] _ _ _ _ [F] _ _ [A] _
_ _ [Dm] _ _ _ _ _ _
_ _ _ [Gb] _ [B] _ _ _ _
_ _ _ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [Gb] _ _ [B] _
_ _ [G] _ [Gb] _ [A] _ [D] _ _ _
_ [E] _ _ [A] _ _ [Gbm] _ _ [B] _
_ [Gm] _ _ [A] _ _ [D] _ _ [G] _
_ [A] _ _ _ [D] _ [E] _ [Gbm] _ _
[D] _ _ [E] _ _ [A] _ _ _ _

You may also like to play

8:09
Hilary Hahn: Beethoven Violin Concerto (1/5)
7:30
Hilary Hahn Ysaye (2/2)
9:26
Hilary Hahn plays Korngold Violin Concerto mov.1
4:49
Hilary Hahn Ysaye (1/2)