Chords for Karl Jenkins - The History Of Symphonic Adiemus

_ _ [Bm] _ _ _ _ [F#] _ _
[A] _ _ _ _ _ [C] _ _ _
_ [Am] _ _ [Em] _ _ Well, [D] _
_ [G] _ _ _ _ [C] _ _ [G] _
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_ _ _ _ _ _ _ [Gm] _
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_ _ [C] _ _ _ _ _ _
_ _ _ _ _ _ [Dm] _ _
_ _ [Am] _ _ [A#] _ _ _ _
[Gm] _ _ [Am] _ _ _ _ _ _
[Bm] _ _ _ _ _ _ _ _
_ _ [F#m] _ _ [C] _ _ _ [G] _
_ [Bm] _ _ _ _ [F#] _ _ _
[A] _ _ _ _ _ _ [C] _ _
_ [D] _ _ [Em] _ _ _ _ [Bm] _
_ _ [A] _ _ _ _ [E] _ _
_ [A] _ _ _ _ _ [Fm] everyone loved [G] it, _ _ [D#] but not [E] everyone _ [D] kind of _ _ _ knew what it [Gm] was or thought they knew
what it was.
There was a huge discussion as to what it was.
Many people found it spiritual. _
[C] _ _ Someone said it was [Am] _
that I write spiritual music for [E] secular people.
[A]
That was one phrase that [E] came up.
_ There was a [A] huge furore here in the [B] UK as to what it was, whether it was classical or not. _
[Em] _ _ _ [C] _ _ _ _ _
[Am] _ _ _ _ [B] I started writing sacred [Em] texts like Requiem, [C] Stabat Mater, Gloria, _ [Am] _ which are part of the
[G#] Christian Latin repertoire, but always [Em] bringing something in from other cultures.
[B] In the Requiem I used [Em] _ _ _
[G] Japanese haiku poetry [Am] and also Japanese instrumentation.
[D] In the Stabat Mater, Middle Eastern wind [G] instruments.
So this was the story of what I was doing.
I was [C] mixing cultures.
So I don't think the music has [D] inherently changed.
It's [Em] always been accessible and _ [C] tonal and not difficult to [G] listen to.
So _ each [D] new piece is a new adventure anyway, just [G] for the fact [A] that it's different.
It's new.
[Dm] _ _ _ _ [A#] _
_ [F] _ [Dm] I think it's the [G] accessibility, but a [C#m] lot of music is [D] accessible.
It's hard for me to quantify because it's for others to say, but I think _ there's a [F#] _ haunting
[Em] quality to it, to the slow movements anyway, to the slow music, [A] that makes an emotional
[B] connection [G] with people.
One guy, one critic said of me in a [A] deprecating tone that [G#m]
I [G] was, as a [A] composer, I was emotionally
[B] manipulative.
Well, I thought that's an _ [Em] amazing compliment to say to someone who [F#] writes music.
[D] It means you can make [D#] _ people's mood change or uplift them or make [F] them sad. _ _ _ _ _
_ _ _ _ _ _ Sometimes ideas come [Dm] and sometimes they don't.
So it's a vague thing, inspiration.
[G] I don't go wandering around and [G] tunes come into my head and say, oh, [F] wonderful, I'll
go and write that down.
It never happens.
Only when I start _
[C] working _ _ and [Gm] then, as I say, I [C#] retain what's good and [G] reject [F#] what I think is [Dm] good. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
_ [Bm] _ _ _ _ _ [G] _ _
_ _ _ [D] _ _ _ _ _
_ _ _ _ [Bm] Essentially, an 80 [G]-piece core orchestra.
[D] Over the top of that, we had two percussionists _ [Bm] _ _
_ [D] creating maybe 20 overlaid percussion [Bm] tracks.
_ [D] _ _ And then the London Philharmonic chorus sang.
There's 80 of those, _ but we overlaid them a couple of occasions.
So _ _ _ at certain points [G] in _ the passage of the album, when it's at full monte, [Am] if you like,
full bore, there's [Em] about 400 people _ participating.
[B] This is a radical [E] interpretation from the original.
[C#m] _
To me, [E] it sounds more exciting.
The [Am] percussion is better.
It's [E] driving.
It's more varied. _ _
_ _ _ _ It's more involved.
It sounds more natural.
_ _ _ _ _ And sonically, with [A] the brass and [E] woodwind, it gives it a huge [D] _ [C#m] difference, kind of dimension.
It's richer.
[A] So all _ this _ [G] musical tourism I did _ _ _ [C#m]
came back into what I did [C] when I began this career.
Post-Symphonic Adiamus _ _ excited _ me a lot because it was looking back but also looking forward
and changing the [Am] concept of it. _
It crosses boundaries, but [Em] I never use the word crossover.
[D] _ [G] It's immediate, it's accessible, [C] _
[G] and it's attractive, I think.
Exciting.
_ [Em]
Rich.
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_ [Gm] _ _ _ _ _ _ [F] _
_ _ _ _ [C] _ _ _ _