Chords for Julia Lezhneva - 'Alleluia'
Tempo:
121.4 bpm
Chords used:
Eb
Ab
F
Gbm
Db
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb]
[Ab] [Eb]
[Ab] [Eb]
[F] [Eb]
[Ab] [Eb]
[Db] [Ab] [Eb]
[Db] [Eb]
[Db] [Ab]
[Eb] [Ab] I started playing piano when I was five.
I sang in a choir with the other young
children.
When I was seven [C] my family [Ab] moved to Moscow where I continued my
studies [C]
as a pianist mainly and continued singing in a choir like all
the others.
[F] [B]
[C]
[F] I started to be [D] very interested in listening to recordings
when I was about 10 or 11.
I especially liked John Eliot Gardner, his recording
of Hercules by Handel.
This recording really [F] inspired me so much.
[C] At the same
time I was amazed by St.
Matthew's Passion.
I was so deeply in love with it
I could listen to it for many hours a day and by the end I learned it all by heart.
When I turned 14 I entered to the college [F] and my vocal lessons [Bb] became much
[Fm] much more professional and I had to train my voice.
I had a huge luck to meet
my very very warm friend Mrs.
Marilee Handalen.
[D] She recommended that this
place in Cardiff, [G] Cardiff International Academy of Voice, would be the best [Ab] choice for me.
[Eb] [Abm]
[Bb] [Ab] [F]
[Ab] [Eb]
[F]
[Ebm] [Eb]
[Ab] [Eb] When I was in my second year in [Ebm] the Cardiff Academy [G] of Voice we had
Kiri Tekanova [Eb] master classes, just two of them, and during the second one I sang
[Fm]
Rossini, a Rossini aria for her and she [Eb]
invited me to [Ab] sing at the Classical
Brides [Abm] because she wanted a young singer to bring with her and it appeared to be
a great luck somehow.
After that I had [Gb] a contract with DECCA.
[Bm]
I
[Em] [Gb]
[Bm]
[Abm] enjoyed every moment of the recording, every minute, [Gbm] because with this orchestra
they're [Dm] so intelligent and so passionate about what they [B] do.
Well of course it was
not very easy, especially with the pieces that we've chosen, they're so completely
[Gbm]
different and me and Giovanni we worked to, you know, to find the same mood that
[Abm] we feel it in the same way, [Gbm] so we are the team.
It's so important to [Db] have
possibility [Gbm] to be free and open [Abm] with your thoughts when you are performing
and [Gbm] recording something.
It's [Gb] how you talk to yourself [E] and to the [Db] people and
so to be able to have professionals that [Gbm] are as passionate as you are in those
[Db] things, [Gbm] I think it's unique.
[Gb]
[Gbm] [Gb]
[Db] [Gbm]
[D] [Abm] [Gbm]
[Gb] [Gbm] [F] [Db]
I've chosen this repertoire because [Gb] I am completely in love with this, with those
motets that we've chosen.
I think all of them are written for [Bbm] very young
people [A]
and of course Mozart was just 16 years old when he wrote the Exsultate
Iubilate and Exsultate Iubilate [F] is a very special piece for me also because I
was a very young teenager when I first started studying this piece.
[C] [F]
[Bb]
[C]
[F] [C]
[F]
[Ab] My favorite
motet is [Eb] in Cello Stele by Porpora.
I found this music is [Ab]
[Eb] like it's
written for my voice and it was [C] actually he [Eb] wrote it for Graziola, one of the
[Ebm] singers [F] of Ospedaletto, the famous church, and [Ab] she was very young and all of the
singers were very very young.
People went there to listen particularly to [Eb] them, [Ab] you know,
after the service they bought tickets [Db] and they had [Bb] programs in advance, you
know, to [Fm] listen to these genius singers.
And I think it's a great honor to be [F] able to
[Ab]
perform this piece again.
[Eb] [Ab]
[Ab] [Eb]
[Ab] [Eb]
[F] [Eb]
[Ab] [Eb]
[Db] [Ab] [Eb]
[Db] [Eb]
[Db] [Ab]
[Eb] [Ab] I started playing piano when I was five.
I sang in a choir with the other young
children.
When I was seven [C] my family [Ab] moved to Moscow where I continued my
studies [C]
as a pianist mainly and continued singing in a choir like all
the others.
[F] [B]
[C]
[F] I started to be [D] very interested in listening to recordings
when I was about 10 or 11.
I especially liked John Eliot Gardner, his recording
of Hercules by Handel.
This recording really [F] inspired me so much.
[C] At the same
time I was amazed by St.
Matthew's Passion.
I was so deeply in love with it
I could listen to it for many hours a day and by the end I learned it all by heart.
When I turned 14 I entered to the college [F] and my vocal lessons [Bb] became much
[Fm] much more professional and I had to train my voice.
I had a huge luck to meet
my very very warm friend Mrs.
Marilee Handalen.
[D] She recommended that this
place in Cardiff, [G] Cardiff International Academy of Voice, would be the best [Ab] choice for me.
[Eb] [Abm]
[Bb] [Ab] [F]
[Ab] [Eb]
[F]
[Ebm] [Eb]
[Ab] [Eb] When I was in my second year in [Ebm] the Cardiff Academy [G] of Voice we had
Kiri Tekanova [Eb] master classes, just two of them, and during the second one I sang
[Fm]
Rossini, a Rossini aria for her and she [Eb]
invited me to [Ab] sing at the Classical
Brides [Abm] because she wanted a young singer to bring with her and it appeared to be
a great luck somehow.
After that I had [Gb] a contract with DECCA.
[Bm]
I
[Em] [Gb]
[Bm]
[Abm] enjoyed every moment of the recording, every minute, [Gbm] because with this orchestra
they're [Dm] so intelligent and so passionate about what they [B] do.
Well of course it was
not very easy, especially with the pieces that we've chosen, they're so completely
[Gbm]
different and me and Giovanni we worked to, you know, to find the same mood that
[Abm] we feel it in the same way, [Gbm] so we are the team.
It's so important to [Db] have
possibility [Gbm] to be free and open [Abm] with your thoughts when you are performing
and [Gbm] recording something.
It's [Gb] how you talk to yourself [E] and to the [Db] people and
so to be able to have professionals that [Gbm] are as passionate as you are in those
[Db] things, [Gbm] I think it's unique.
[Gb]
[Gbm] [Gb]
[Db] [Gbm]
[D] [Abm] [Gbm]
[Gb] [Gbm] [F] [Db]
I've chosen this repertoire because [Gb] I am completely in love with this, with those
motets that we've chosen.
I think all of them are written for [Bbm] very young
people [A]
and of course Mozart was just 16 years old when he wrote the Exsultate
Iubilate and Exsultate Iubilate [F] is a very special piece for me also because I
was a very young teenager when I first started studying this piece.
[C] [F]
[Bb]
[C]
[F] [C]
[F]
[Ab] My favorite
motet is [Eb] in Cello Stele by Porpora.
I found this music is [Ab]
[Eb] like it's
written for my voice and it was [C] actually he [Eb] wrote it for Graziola, one of the
[Ebm] singers [F] of Ospedaletto, the famous church, and [Ab] she was very young and all of the
singers were very very young.
People went there to listen particularly to [Eb] them, [Ab] you know,
after the service they bought tickets [Db] and they had [Bb] programs in advance, you
know, to [Fm] listen to these genius singers.
And I think it's a great honor to be [F] able to
[Ab]
perform this piece again.
[Eb] [Ab]
Key:
Eb
Ab
F
Gbm
Db
Eb
Ab
F
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Eb] _
_ _ [Ab] _ _ [Eb] _ _ _ _
_ _ _ _ [Ab] _ _ [Eb] _ _
_ _ _ _ [F] _ _ _ [Eb] _
_ _ _ _ [Ab] _ _ [Eb] _ _
[Db] _ _ [Ab] _ _ [Eb] _ _ _ _
_ _ [Db] _ _ [Eb] _ _ _ _
_ _ _ _ [Db] _ _ _ [Ab] _
_ [Eb] _ _ [Ab] _ _ _ I started playing piano when I was five.
I sang in a choir with the other young
children.
When I was seven [C] my family [Ab] moved to Moscow where I continued my
studies [C]
as a pianist mainly and continued singing in a choir like all
the others. _ _ _ _
_ [F] _ _ _ [B] _ _ _ _
[C] _ _ _ _ _ _ _ _
_ _ _ [F] I started to be [D] very interested in listening to recordings
when I was about 10 or 11.
I especially liked John Eliot Gardner, his recording
of Hercules by Handel.
This recording really [F] inspired me so much.
[C] At the same
time I was amazed by St.
Matthew's Passion.
I was so deeply _ in love with it
I could listen to it for many hours a day and by the end I learned it all by heart.
_ When I turned 14 I entered to the college [F] and my vocal lessons [Bb] became much
[Fm] much more professional and I had to train my voice.
I had a huge luck to meet
my very very warm friend Mrs.
Marilee Handalen.
[D] She recommended that this
place in Cardiff, [G] Cardiff International Academy of Voice, would be the best [Ab] choice for me.
_ _ _ _ _ [Eb] _ _ [Abm] _
_ _ [Bb] _ _ [Ab] _ _ _ [F] _
_ _ [Ab] _ _ _ _ _ [Eb] _
_ _ _ _ _ [F] _ _ _
_ _ [Ebm] _ _ _ [Eb] _ _ _
_ _ [Ab] _ _ [Eb] _ When I was in my second year in [Ebm] the Cardiff Academy [G] of Voice we had
Kiri Tekanova _ [Eb] master classes, just two of them, and during the second one I sang
[Fm]
Rossini, a Rossini aria for her and she _ [Eb]
invited me to [Ab] sing at the Classical
Brides [Abm] because she wanted a young singer to bring with her and it appeared to be
a great luck somehow.
After that I had [Gb] a contract with DECCA.
_ [Bm] _
_ _ I _ _ _ _
_ [Em] _ _ _ [Gb] _ _ _ _
_ [Bm] _ _ _ _ _ _ _
[Abm] enjoyed every moment of the recording, every minute, [Gbm] because with this orchestra
they're [Dm] so _ intelligent and so passionate about what they [B] do.
Well of course it was
not very easy, _ especially with the pieces that we've chosen, they're so completely
[Gbm]
different _ and me and Giovanni we worked to, you know, to find the same mood that
[Abm] we feel it in the same way, [Gbm] so we are the team.
It's so important to [Db] have
possibility [Gbm] to be free and open [Abm] with your thoughts when you are performing
and [Gbm] recording something.
It's [Gb] how you talk to yourself [E] and to the [Db] people and
so to be able to have professionals that [Gbm] are as passionate as you are in those
[Db] things, [Gbm] I think it's unique.
_ _ _ _ _ _ [Gb] _
_ _ _ [Gbm] _ _ _ _ [Gb] _
_ _ [Db] _ _ [Gbm] _ _ _ _
_ [D] _ _ [Abm] _ _ [Gbm] _ _ _
_ [Gb] _ _ [Gbm] _ _ [F] _ _ [Db] _
I've chosen this repertoire because [Gb] I am completely in love with this, with those
motets that we've chosen.
I think all of them are written for [Bbm] very young
people [A]
and of course Mozart was just 16 years old when he wrote the Exsultate
Iubilate and Exsultate Iubilate [F] is a very special piece for me also because I
was a very young teenager when I first started studying this piece.
_ _ _ _ _ _ _ _
_ [C] _ _ _ _ [F] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [Bb] _ _ _
_ _ _ _ _ _ _ [C] _
_ [F] _ _ _ _ _ [C] _ _
[F] _ _ _ _ _ _ _ _
_ [Ab] My favorite
motet is [Eb] in Cello Stele by Porpora.
_ I found this music is [Ab] _
_ [Eb] like it's
written for my voice and it was [C] _ actually he [Eb] wrote it for Graziola, one of the
[Ebm] singers [F] of Ospedaletto, the famous church, and [Ab] she was very young and all of the
singers were very very young.
People went there to listen particularly to [Eb] them, [Ab] you know,
after the service they bought tickets [Db] and they had [Bb] programs in advance, you
know, to [Fm] listen to these genius singers.
And I think it's a great honor to be [F] able to
[Ab] _
perform this piece again.
_ _ _ _ [Eb] _ [Ab] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Eb] _
_ _ [Ab] _ _ [Eb] _ _ _ _
_ _ _ _ [Ab] _ _ [Eb] _ _
_ _ _ _ [F] _ _ _ [Eb] _
_ _ _ _ [Ab] _ _ [Eb] _ _
[Db] _ _ [Ab] _ _ [Eb] _ _ _ _
_ _ [Db] _ _ [Eb] _ _ _ _
_ _ _ _ [Db] _ _ _ [Ab] _
_ [Eb] _ _ [Ab] _ _ _ I started playing piano when I was five.
I sang in a choir with the other young
children.
When I was seven [C] my family [Ab] moved to Moscow where I continued my
studies [C]
as a pianist mainly and continued singing in a choir like all
the others. _ _ _ _
_ [F] _ _ _ [B] _ _ _ _
[C] _ _ _ _ _ _ _ _
_ _ _ [F] I started to be [D] very interested in listening to recordings
when I was about 10 or 11.
I especially liked John Eliot Gardner, his recording
of Hercules by Handel.
This recording really [F] inspired me so much.
[C] At the same
time I was amazed by St.
Matthew's Passion.
I was so deeply _ in love with it
I could listen to it for many hours a day and by the end I learned it all by heart.
_ When I turned 14 I entered to the college [F] and my vocal lessons [Bb] became much
[Fm] much more professional and I had to train my voice.
I had a huge luck to meet
my very very warm friend Mrs.
Marilee Handalen.
[D] She recommended that this
place in Cardiff, [G] Cardiff International Academy of Voice, would be the best [Ab] choice for me.
_ _ _ _ _ [Eb] _ _ [Abm] _
_ _ [Bb] _ _ [Ab] _ _ _ [F] _
_ _ [Ab] _ _ _ _ _ [Eb] _
_ _ _ _ _ [F] _ _ _
_ _ [Ebm] _ _ _ [Eb] _ _ _
_ _ [Ab] _ _ [Eb] _ When I was in my second year in [Ebm] the Cardiff Academy [G] of Voice we had
Kiri Tekanova _ [Eb] master classes, just two of them, and during the second one I sang
[Fm]
Rossini, a Rossini aria for her and she _ [Eb]
invited me to [Ab] sing at the Classical
Brides [Abm] because she wanted a young singer to bring with her and it appeared to be
a great luck somehow.
After that I had [Gb] a contract with DECCA.
_ [Bm] _
_ _ I _ _ _ _
_ [Em] _ _ _ [Gb] _ _ _ _
_ [Bm] _ _ _ _ _ _ _
[Abm] enjoyed every moment of the recording, every minute, [Gbm] because with this orchestra
they're [Dm] so _ intelligent and so passionate about what they [B] do.
Well of course it was
not very easy, _ especially with the pieces that we've chosen, they're so completely
[Gbm]
different _ and me and Giovanni we worked to, you know, to find the same mood that
[Abm] we feel it in the same way, [Gbm] so we are the team.
It's so important to [Db] have
possibility [Gbm] to be free and open [Abm] with your thoughts when you are performing
and [Gbm] recording something.
It's [Gb] how you talk to yourself [E] and to the [Db] people and
so to be able to have professionals that [Gbm] are as passionate as you are in those
[Db] things, [Gbm] I think it's unique.
_ _ _ _ _ _ [Gb] _
_ _ _ [Gbm] _ _ _ _ [Gb] _
_ _ [Db] _ _ [Gbm] _ _ _ _
_ [D] _ _ [Abm] _ _ [Gbm] _ _ _
_ [Gb] _ _ [Gbm] _ _ [F] _ _ [Db] _
I've chosen this repertoire because [Gb] I am completely in love with this, with those
motets that we've chosen.
I think all of them are written for [Bbm] very young
people [A]
and of course Mozart was just 16 years old when he wrote the Exsultate
Iubilate and Exsultate Iubilate [F] is a very special piece for me also because I
was a very young teenager when I first started studying this piece.
_ _ _ _ _ _ _ _
_ [C] _ _ _ _ [F] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [Bb] _ _ _
_ _ _ _ _ _ _ [C] _
_ [F] _ _ _ _ _ [C] _ _
[F] _ _ _ _ _ _ _ _
_ [Ab] My favorite
motet is [Eb] in Cello Stele by Porpora.
_ I found this music is [Ab] _
_ [Eb] like it's
written for my voice and it was [C] _ actually he [Eb] wrote it for Graziola, one of the
[Ebm] singers [F] of Ospedaletto, the famous church, and [Ab] she was very young and all of the
singers were very very young.
People went there to listen particularly to [Eb] them, [Ab] you know,
after the service they bought tickets [Db] and they had [Bb] programs in advance, you
know, to [Fm] listen to these genius singers.
And I think it's a great honor to be [F] able to
[Ab] _
perform this piece again.
_ _ _ _ [Eb] _ [Ab] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _