Chords for Jordan Rudess on performing "The Spirit Carries On"

And we're talking about The Spirit Carries [Dbm] On, which you have a whole lot of really [Em] interesting
multi-layered mapping going on.
Yeah, it's a nice song for the chronos actually.
What's cool about it is_ Nice, sweet.
John and I do this [Eb] thing at the beginning, which is kind of nice little improvisation.
And it's [D] sweet that this starts out.
It's a nice, kind of droning thing.
_ _ With this sound, I'm able to bring in some _ really nice choirs.
[G] _ _ _
_ [A] _ _ Easy stuff, but very effective.
And of course what's great about the chronos is you can switch patches and none of the
effects get disturbed.
So as soon as I'm ready [D] to_
_ _ _ [G] _ _
_ _ _ _ And so everything is_
[G] _ _ [B] _ _ [D] _ _ Nice, sweet.
_ _ _ _ [G] _ _ _
[D] _ _ _ [A] _ _ _ Now we'll see these small speakers explode with the next sound.
_ [D] _ _ _
_ [G] _ _ [A] _ _ _ _ [E] _
_ _ _ [A] _ _ And we'll go _
[D] into_
_ _ Song begins with some nice slider activity.
Or I can bring in a _ _ _ nice_
_ _ _ _ [G] _ _ _ _
_ [A] _ _ _ _ [D] Switch.
And at this point in the song, actually, I have the organ down here.
[E] The organ we were talking before, I think [B] off camera.
You're using the CX-3 mode for that, right?
Yeah.
[D] And actually what's cool is that because there's so many insert [G] effects in the chronos, this
is one great thing about the Korg system.
Is that you're able to [D] _ [Am] have the organ be completely on its [Eb] own.
In fact, it can have its own ambience.
[Dm] Its own reverb, [D] its own rotary speaker.
And if I lift that up, yeah, there we go.
A little bit of chaining.
And this [Eb] sounds like_ _
[A] _ Because I've only [D] got two hands and I'm playing piano.
But you've got a polyphonic on [B] that.
You've got a_ Yeah.
Yeah.
_ [G] _ _ _ [A] _ _
And that [D] works.
Yeah.
_ That is not like [N] a stock sample.
I took that organ sound, I did it, and then I re-sampled it.
And I was like, you know what?
That's what I need the sound to be.
Yeah.
So this is great.
I mean, [Eb] I remember playing this song in the old days where I would have to switch from
one patch to another and there would be a [F] cutoff.
So I can [D] literally hold the switch, do that, and [Bm] then_
_ And I'm on the [Bb] next sound.
And I'm on the next [D] sound. _ _ _ _
And this sound has _ [G] some voices [E] here. _
[D] _ _ That here [B] is my organ and [Ab] my quick [Bb] palm-wipe.
_ Longer palm-wipe.
My [B] lengthy one.
Then I start getting [D] towards the end where the whole thing picks up even more.
And then I start adding towards bass pedals in either my pinky or my thumb.
So if I play a chord, I'll play this section.
I've got my_ _
Here's my piano and voices.
Then I've got organs and chorus down [G] here, which don't really speak out of these speakers.
But [D] anyways, it's like_ _
_ [A] _ _ _ _ [G] _ _ [Em] _
_ _ _ [A] _ _ [E] What's cool is that, yeah, I've got like_
[Gb] _ Ah, [D] there's the chorus.
So if I play this chord [G] down there, then I can go_
_ _ [Em] _ _ _
Obviously, [D] I don't want the chorus to be on every note that I'm playing.
But I'm doing some interesting mapping [G] and interesting hand positions to [D] make crazy things happen.
[F] And at the very end of the song, for the final [E] beat after we_
_ _ [Em] _ [A] _
Then I switch, and I'm [D] like_
And I use the slider.
And I can map the slider to like as many of the sounds as I want.
So really, all that's left is this piano, you would think.
However, all the pads, the organ and the voices and the strings, they're gone.
And then_
_ [Ab] I've [Bm] got a little sample.
_ And I can just_
[A] _ _ _ I know the [G] gospel key.
_ [D] _ _ _ [E] _ _
_ [A] _ _ _ [D] _ _ Really, _ _ _ _ [F] this instrument was great for me and for anybody is that chords,
[G] what concept is you put like all this, you know, musical thought in one place.
It's all very [F] cohesive.
So it can really work instead of, you know, instead of the other approach, which is that
cool in a different [G] way, which is, you know, you [N] use a lot of software and to make happen
with a lot of different tools to kind of bring those into one area.
But I like the whole idea of having an instrument that's designed to be cohesive and having
it all there.
And I can do, you know, [B] analog _ [Am] _ _ [E] _ _
sounds and [F] samples [G] all_
_ [A] _ _
[Em] survive together.
_ Everybody's, you know, happy.
[N] _ _