Chords for John Fahey TV interview 1978

Tempo:
78.05 bpm
Chords used:

G

Gm

C

Eb

A

Tuning:Standard Tuning (EADGBE)Capo:+0fret
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John Fahey TV interview 1978 chords
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[G] What effect has Leo's success though had on your own style of [Gm] playing?
Well, it made me play faster, a lot of my songs faster.
I'd get on stage and no longer could I, you know, sit back and play relaxed.
I had to go fast, fast, fast.
[C] And so I learned to [Eb] play faster and now I'm trying to learn to play slower again.
Because I don't really like [Gm] playing everything that fast, you know.
[G] [C] Leo was a contemporary influence on you obviously,
but it's also obvious [A] from listening to your records that the influences [C] go much deeper than that.
Obviously back to the old blues musicians.
What [G] sort of people first got you interested in playing the guitar in the way that you do?
[A] [G] Well again, it was Bill Monroe, this white guy here, who was a mandolin player.
He made a few records where he played the [Gm] guitar and sang.
And [C] he had a rhythm that is [Eb] very erratic, you know, it's [Gm] never the same.
It's the same thing I mentioned a while ago.
[G] Every verse is a little different, the rhythm, particularly the rhythm, it's constantly changing.
And the first time I heard a record by him, I, you know, what's going [Gm] on?
And then I got a [G] guitar, I had to get a guitar.
And then I discovered [Gm] some of these older black artists on old 78 records [G] doing the same thing.
It was constantly [Gm] changing.
Most of them weren't any good, but a few of them were great.
And I tried to imitate this rhythmic, I'd say creativity.
This is what happens in good jazz, you know.
[Eb] There's not just [G] improvisation in the notes of the music, but also in the rhythm.
You know, the phrasing is all important, really important.
And that's what I keep trying to do, because I never get tired of it.
I mean, if you can sit and play a song for an hour, [Gm] the same song,
[C] and just concentrate on the rhythmic changes, [Gm] phrasing changes, [C] something's [G] going on.
That sort of music, though, seems to me at least to be more common amongst American guitar players.
English guitar players seem to have a different style altogether to the Americans.
Why do you think that is?
Well, I think that, you know, I know [Gm] what you're talking about.
The English guitar players, you know, as a rule, are very stately and very delicate, if you will.
It's true.
Some of them are very technically proficient.
But again, I'm looking for the rhythm.
I think the rhythmic thing has happened in the United States, you know,
because of the black people we brought over there.
And, you know, like when they got a hold of guitars and banjos, they were still doing this tribal stuff.
[G] And that's where the excitement comes to me.
It's the rhythm.
I mean, the first time I heard that stuff, it was like another [Gm] world coming through.
[Eb] Like Louis Armstrong said, he spent 30 years learning what not [Gm] to play.
And [G] a lot of these notes are [Gm] superfluous to the [G] feeling.
You know, if you can get the rhythm, [Gm] again, I can't get away from talking about the rhythm.
Because it's really what it is.
You know, if you've got the rhythm there, you can play much less notes.
And it sounds, you know, better, more relaxed.
I mean, you know, if I want to, I can throw in all kinds of spurious notes.
[G] Extra notes, grace [C] notes, decorative things.
And [G] like that will appeal to certain kinds of people who like, say, Rococo [C]-type nonsense.
[Gm] [G] A lot of guitar players are that way.
You know, like the more [C] notes per second, the better.
And they forget about the rhythm or the feeling.
[Gm]
Like this Robert Johnson, [C] this blues singer.
He used to go out without a guitar.
He'd run out of a guitar and he'd start clapping his hands.
[G] And he'd make money that way, [C] singing and clapping his hands.
Because he had this feel.
[Eb] No notes at all on the guitar.
Key:  
G
2131
Gm
123111113
C
3211
Eb
12341116
A
1231
G
2131
Gm
123111113
C
3211
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[G] What effect has Leo's success though had on your own style of [Gm] playing?
Well, it made me play faster, a lot of my songs faster.
I'd get on stage and _ no longer could I, you know, sit back and play relaxed.
I had to go fast, fast, fast.
[C] And so I learned to [Eb] play faster and now I'm trying to learn to play slower again.
Because I don't really like [Gm] playing everything that fast, you know.
_ [G] _ [C] Leo was a contemporary influence on you obviously,
but it's also obvious [A] from listening to your records that the influences [C] go much deeper than that.
Obviously back to the old blues musicians.
What [G] sort of people first got you interested in playing the guitar in the way that you do?
[A] _ _ [G] _ Well again, it was Bill Monroe, this white guy here, who was a mandolin player.
He made a few records where he played the [Gm] guitar and sang.
And [C] he had a rhythm that is [Eb] very erratic, you know, it's [Gm] never the same.
It's the same thing I mentioned a while ago.
[G] Every verse is a little different, the rhythm, particularly the rhythm, it's constantly changing.
And the first time I heard a record by him, I, you know, what's going [Gm] on?
And _ then I got a [G] guitar, I had to get a guitar.
And then I discovered [Gm] some of these older black artists on old 78 records [G] doing the same thing.
It was constantly [Gm] changing. _
Most of them weren't any good, but a few of them were great.
And I tried to imitate this rhythmic, I'd say creativity.
This is what happens in good jazz, you know.
[Eb] There's not just [G] improvisation _ in the notes of the music, but also in the rhythm.
You know, the phrasing is all important, really important.
_ And that's what I keep trying to do, because I never get tired of it.
I mean, if you can sit and play a song for an hour, [Gm] the same song,
[C] and just concentrate on the rhythmic changes, [Gm] phrasing changes, [C] _ something's [G] going on.
That sort of music, though, seems to me at least to be more common amongst American guitar players.
English guitar players seem to have a different style altogether to the Americans.
Why do you think that is?
Well, I think that, you know, I know [Gm] what you're talking about.
The English guitar players, you know, as a rule, are very stately and very delicate, if you will.
It's true.
Some of them are very _ technically proficient.
But again, I'm looking for the rhythm.
I think the rhythmic thing has happened in the United States, you know,
because of the black people we brought over there.
And, you know, like when they got a hold of guitars and banjos, they were still doing this tribal stuff.
[G] And that's where the excitement comes to me.
It's the rhythm.
I mean, the first time I heard that stuff, it was like another [Gm] world coming through.
_ [Eb] Like Louis Armstrong said, he spent 30 years learning what not [Gm] to play.
And [G] a lot of these notes are [Gm] superfluous to the [G] feeling.
You know, if you can get the rhythm, [Gm] again, I can't get away from talking about the rhythm.
Because it's really what it is.
You know, if you've got the rhythm there, you can play much less notes.
And it sounds, you know, better, more relaxed.
I mean, you know, if I want to, I can throw in all kinds of spurious notes.
[G] Extra notes, grace [C] notes, decorative things.
And [G] like that will appeal to certain kinds of people who like, say, Rococo [C]-type nonsense.
[Gm] _ _ [G] A lot of guitar players are that way.
You know, like the more [C] notes per second, the better.
And they forget about the rhythm or the feeling.
[Gm] _
Like this Robert Johnson, [C] this blues singer.
He used to go out without a guitar.
He'd run out of a guitar and he'd start clapping his hands.
[G] And he'd make money that way, [C] singing and clapping his hands.
Because he had this feel. _
[Eb] No notes at all on _ the guitar. _ _

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