Chords for Making Of Blue Horizons SeaWorld
Tempo:
79.3 bpm
Chords used:
E
B
Db
A
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb]
The story [N] takes place in that beautiful, gorgeous place that happens right where [Gb] the water meets
the sky, what we call the blue horizon.
[Ebm] And it's a wonderful story about a young girl who has an imagination, who would love to
be able to swim with the dolphins and [Bbm] soar with the birds.
[E] So she actually now [B] goes through this beautiful journey [D] where she meets the dolphins and she
runs [Gb] into sort of the spirit of the sea and the spirit of the sky.
[Bm] And in doing so, it completely [E] changes her life.
And hopefully in [Gb] the end, she gets a chance to do her dream, which [Ebm] is swim with the dolphins
and fly with the [A] birds.
[Gb] [Abm] I
[E] [Ebm] was trying to [Abm] evoke the idea that in [Dbm] the show,
[B] there are times [Em] in the show when we're
– are we in the [B] water or are we in the sky?
[G] And so I wanted the environment [A] to be [B] almost like the sky had spiraled down into the water
and [A] the water had spiraled back up into the [Dm] sky.
So in trying to represent that, and there's an enormous series of wave structures that
are on the set, but they're [E] surrealistic in their representation on stage.
They're not literally a wave.
We wanted something just a little bit more abstract and more theatrical.
So [Em] the idea is that even though it looks like a big [E] wave, it's really made up of, for
me, parts [B] of the feathers on a bird.
There's [C] also an exaggeration, like how are we going to represent the foam of the sea?
And so we wanted something that could [Em] be bubble-like.
It was bubbles [G] like it was underwater, but also like it could possibly [E] be interpreted
if you were sitting in the audience, oh, they're clouds.
The whole space is ensconced by this [Abm] enormous curvilinear [Ab] undulating truss that [E] wraps over the pool.
And the whole purpose for the truss is [Db] twofold.
One of the things [E] I'm really pleased with about it is as you sit in the space and you
[Ab] look and watch the show, it kind of provides a little [B] picture frame.
[Dbm] But the other thing is that it, [Gbm] of course, is that it's supporting [E] all the technical
side of the show to [A] make all these fantastic things happen where we're actually getting
to see people as birds [Dbm] fly through the sky and [B] do all these fantastic tricks.
[Gb]
[E] [Bb] When you look at the venue, the size of [F] the venue, and then you look at the show and the
scope of the show, how big it is, we felt that the best direction to go was to do a
[Bbm] big symphonic score.
The dolphins and the whales in and of themselves [D] and the actions and behaviors that they do
are big.
They deserve to be underscored with magnificent music.
[G]
[Dm] We also wanted [E] something a little unique.
We didn't want something that was extremely rock or contemporary, something that was wholly
[Dm] identified with a certain genre of show [Gm] or a certain genre of music.
[D] But it's something that was a very [Dm] broad piece of music that could appeal to everybody.
[D]
[Am] [Bb] [C]
[Dm] I [Bb] believe that the [C]
show that we're doing now, Blue [Dm] Horizons, is actually an embodiment of
what I believe SeaWorld [D] is all about, which is transforming people's relationships [A] with
animals and nature.
[Em] Marina is the main character of the show.
[B] So I put [Em] her in pink so that she would be really easy to spot.
And it's [C] also feminine and girlish and [D] just instantly recognizable.
[Em] Delphus and Aurora are two secondary principal [C] characters.
And they are [D] actually animals that come to life as human beings.
[Em] The high divers and the cloud swings are also meant to be [C] birds.
The bungee jumpers are also [Em] part of the storm sequence.
So we needed something kind of [Gb] dark and ominous in a way without being creepy and scary.
[F] [Db] [Eb] From an animal training [Fm] perspective, Blue Horizons is unique in that we are not [Db] really
letting the audience see our [Eb] signals.
We're trying to make it look more [Bbm] like the animals are leading us and we're interacting
with the animals.
So [Eb] there was a lot of training that went on to creating much more subtle signals, training
an entirely [F] new underwater tone system for the animals so that they come to [Db] the pool
and leave the pool without the audience [F] ever seeing a human being on stage.
There was a lot of different perspectives.
[Bbm] There's also a huge new [F] environment that we're in, that animals [Db] have never interacted with
something over the top of them.
There's a huge trust system [Bbm] that is there to support all of the other [Ab] elements of the show.
There are birds flying over their [Db] heads during the show.
So we had to [Cm] desensitize them to all of these things [Fm] in their world.
[E]
Blue [E] Horizons is going to be a unique experience never seen before.
[Abm] This has something for [A] everybody.
If you love animals, this show is going to be for you.
[E] If you love [A] flying and acrobatics and [E] athletics and gymnastics, [A] this show is for you.
If you love diving, if you love water sports and that sort of thing, this [E] show is for you.
I think the best thing though [A] too is the fact that we have [Em] a [B] storyline that [Gb] everyone can
relate to, from little girls to boys to moms and dads.
And it's really about the [B] message that the show has [Db] that I think is really going to draw people in.
Besides the spectacle, [Gb] which I think is easy to talk about, besides this incredible set
and incredible music and again seeing a unique experience [B] that you won't have seen anywhere
else, [Db] the fact is that you're going to see [Ab] a unique story and you're going to go on an
adventure and a journey and enjoy that experience with the characters that are in the show.
And I think [Db] you'll come out of this [Eb] with an emotion, a [Ab] feeling, an [Ab] excitement that [Db] you're
not going to get from any other show.
[Eb] [Ab]
[Bm]
The story [N] takes place in that beautiful, gorgeous place that happens right where [Gb] the water meets
the sky, what we call the blue horizon.
[Ebm] And it's a wonderful story about a young girl who has an imagination, who would love to
be able to swim with the dolphins and [Bbm] soar with the birds.
[E] So she actually now [B] goes through this beautiful journey [D] where she meets the dolphins and she
runs [Gb] into sort of the spirit of the sea and the spirit of the sky.
[Bm] And in doing so, it completely [E] changes her life.
And hopefully in [Gb] the end, she gets a chance to do her dream, which [Ebm] is swim with the dolphins
and fly with the [A] birds.
[Gb] [Abm] I
[E] [Ebm] was trying to [Abm] evoke the idea that in [Dbm] the show,
[B] there are times [Em] in the show when we're
– are we in the [B] water or are we in the sky?
[G] And so I wanted the environment [A] to be [B] almost like the sky had spiraled down into the water
and [A] the water had spiraled back up into the [Dm] sky.
So in trying to represent that, and there's an enormous series of wave structures that
are on the set, but they're [E] surrealistic in their representation on stage.
They're not literally a wave.
We wanted something just a little bit more abstract and more theatrical.
So [Em] the idea is that even though it looks like a big [E] wave, it's really made up of, for
me, parts [B] of the feathers on a bird.
There's [C] also an exaggeration, like how are we going to represent the foam of the sea?
And so we wanted something that could [Em] be bubble-like.
It was bubbles [G] like it was underwater, but also like it could possibly [E] be interpreted
if you were sitting in the audience, oh, they're clouds.
The whole space is ensconced by this [Abm] enormous curvilinear [Ab] undulating truss that [E] wraps over the pool.
And the whole purpose for the truss is [Db] twofold.
One of the things [E] I'm really pleased with about it is as you sit in the space and you
[Ab] look and watch the show, it kind of provides a little [B] picture frame.
[Dbm] But the other thing is that it, [Gbm] of course, is that it's supporting [E] all the technical
side of the show to [A] make all these fantastic things happen where we're actually getting
to see people as birds [Dbm] fly through the sky and [B] do all these fantastic tricks.
[Gb]
[E] [Bb] When you look at the venue, the size of [F] the venue, and then you look at the show and the
scope of the show, how big it is, we felt that the best direction to go was to do a
[Bbm] big symphonic score.
The dolphins and the whales in and of themselves [D] and the actions and behaviors that they do
are big.
They deserve to be underscored with magnificent music.
[G]
[Dm] We also wanted [E] something a little unique.
We didn't want something that was extremely rock or contemporary, something that was wholly
[Dm] identified with a certain genre of show [Gm] or a certain genre of music.
[D] But it's something that was a very [Dm] broad piece of music that could appeal to everybody.
[D]
[Am] [Bb] [C]
[Dm] I [Bb] believe that the [C]
show that we're doing now, Blue [Dm] Horizons, is actually an embodiment of
what I believe SeaWorld [D] is all about, which is transforming people's relationships [A] with
animals and nature.
[Em] Marina is the main character of the show.
[B] So I put [Em] her in pink so that she would be really easy to spot.
And it's [C] also feminine and girlish and [D] just instantly recognizable.
[Em] Delphus and Aurora are two secondary principal [C] characters.
And they are [D] actually animals that come to life as human beings.
[Em] The high divers and the cloud swings are also meant to be [C] birds.
The bungee jumpers are also [Em] part of the storm sequence.
So we needed something kind of [Gb] dark and ominous in a way without being creepy and scary.
[F] [Db] [Eb] From an animal training [Fm] perspective, Blue Horizons is unique in that we are not [Db] really
letting the audience see our [Eb] signals.
We're trying to make it look more [Bbm] like the animals are leading us and we're interacting
with the animals.
So [Eb] there was a lot of training that went on to creating much more subtle signals, training
an entirely [F] new underwater tone system for the animals so that they come to [Db] the pool
and leave the pool without the audience [F] ever seeing a human being on stage.
There was a lot of different perspectives.
[Bbm] There's also a huge new [F] environment that we're in, that animals [Db] have never interacted with
something over the top of them.
There's a huge trust system [Bbm] that is there to support all of the other [Ab] elements of the show.
There are birds flying over their [Db] heads during the show.
So we had to [Cm] desensitize them to all of these things [Fm] in their world.
[E]
Blue [E] Horizons is going to be a unique experience never seen before.
[Abm] This has something for [A] everybody.
If you love animals, this show is going to be for you.
[E] If you love [A] flying and acrobatics and [E] athletics and gymnastics, [A] this show is for you.
If you love diving, if you love water sports and that sort of thing, this [E] show is for you.
I think the best thing though [A] too is the fact that we have [Em] a [B] storyline that [Gb] everyone can
relate to, from little girls to boys to moms and dads.
And it's really about the [B] message that the show has [Db] that I think is really going to draw people in.
Besides the spectacle, [Gb] which I think is easy to talk about, besides this incredible set
and incredible music and again seeing a unique experience [B] that you won't have seen anywhere
else, [Db] the fact is that you're going to see [Ab] a unique story and you're going to go on an
adventure and a journey and enjoy that experience with the characters that are in the show.
And I think [Db] you'll come out of this [Eb] with an emotion, a [Ab] feeling, an [Ab] excitement that [Db] you're
not going to get from any other show.
[Eb] [Ab]
[Bm]
Key:
E
B
Db
A
Em
E
B
Db
_ _ _ _ _ _ [Eb] _ _
_ _ _ _ _ _ _
The story [N] takes place in that beautiful, gorgeous place that happens right where [Gb] the water meets
the sky, what we call the blue horizon.
[Ebm] And it's a wonderful story about a young girl who has an imagination, who would love to
be able to swim with the dolphins and [Bbm] soar with the birds.
[E] So she actually now [B] goes through this beautiful journey [D] where she meets the dolphins and she
runs [Gb] into sort of the spirit of the sea and the spirit of the sky.
[Bm] And in doing so, it completely [E] changes her life.
And hopefully in [Gb] the end, she gets a chance to do her dream, which [Ebm] is swim with the dolphins
and fly with the [A] birds.
_ [Gb] _ _ [Abm] I _
[E] _ [Ebm] was trying to [Abm] evoke the idea that in [Dbm] the show, _
_ [B] there are times [Em] in the show when we're
– are we in the [B] water or are we in the sky?
[G] And so I wanted the environment [A] to be [B] almost like the sky had spiraled down into the water
and [A] the water had spiraled back up into the [Dm] sky.
So in trying to represent that, and there's an enormous series of wave structures that
are on the set, but they're [E] surrealistic in their representation on stage.
They're not literally a wave.
We wanted something just a little bit more abstract and more theatrical.
So [Em] the idea is that even though it looks like a big [E] wave, it's really made up of, for
me, parts [B] of the feathers on a bird.
There's [C] also an exaggeration, like how are we going to represent the foam of the sea?
And so we wanted something that could [Em] be bubble-like.
It was bubbles [G] like it was underwater, but also like it could possibly [E] be interpreted
if you were sitting in the audience, oh, they're clouds.
_ _ The whole space is ensconced by this [Abm] enormous curvilinear [Ab] undulating truss that [E] wraps over the pool.
And the whole purpose for the truss is [Db] twofold.
One of the things [E] I'm really pleased with about it is as you sit in the space and you
[Ab] look and watch the show, it kind of provides a little [B] picture frame.
[Dbm] But the other thing is that it, [Gbm] of course, is that it's supporting [E] all the technical
side of the show to [A] make all these fantastic things happen where we're actually getting
to see people as birds [Dbm] fly through the sky and [B] do all these fantastic tricks.
_ [Gb] _ _ _ _ _
_ _ [E] _ _ [Bb] When you look at the venue, the size of [F] the venue, and then you look at the show and the
scope of the show, how big it is, we felt that the best direction to go was to do a
[Bbm] big symphonic score. _ _ _ _ _ _ _
The dolphins and the whales in and of themselves [D] and the actions and behaviors that they do
are big.
They deserve to be underscored with magnificent music.
_ [G] _
_ _ [Dm] We also wanted [E] something a little unique.
We didn't want something that was _ extremely rock or contemporary, something that was wholly
[Dm] identified with a certain genre of show [Gm] or a certain genre of music.
[D] But it's something that was a very [Dm] broad piece of music that could appeal to everybody.
_ [D] _
_ [Am] _ _ [Bb] _ _ [C] _ _ _
[Dm] _ _ I [Bb] believe that the [C]
show that we're doing now, Blue [Dm] Horizons, is actually an embodiment of
what I believe SeaWorld [D] is all about, which is transforming people's relationships [A] with
animals and nature.
[Em] Marina is the main character of the show.
[B] So I put [Em] her in pink so that she would be really easy to spot.
And it's [C] also feminine and girlish and [D] just instantly recognizable.
_ [Em] Delphus and Aurora are two secondary principal [C] characters.
And they are [D] actually animals that come to life as human beings.
[Em] The high divers and the cloud swings are also meant to be [C] birds.
The bungee jumpers are also [Em] part of the storm sequence.
So we needed something kind of [Gb] dark and ominous in a way without being creepy and scary.
[F] _ _ [Db] _ [Eb] From an animal training [Fm] perspective, Blue Horizons is unique in that we are not [Db] really
letting the audience see our [Eb] signals.
We're trying to make it look more [Bbm] like the animals are leading us and we're interacting
with the animals.
So [Eb] there was a lot of training that went on to creating much more subtle signals, training
an entirely [F] new underwater tone system for the animals so that they come to [Db] the pool
and leave the pool without the audience [F] ever seeing a human being on stage.
There was a lot of different perspectives.
[Bbm] There's also a huge new [F] environment that we're in, that animals [Db] have never interacted with
something over the top of them.
There's a huge trust system [Bbm] that is there to support all of the other [Ab] elements of the show.
There are birds flying over their [Db] heads during the show.
So we had to [Cm] desensitize them to all of these things [Fm] in their world.
_ _ _ _ _ _ [E] _
Blue [E] Horizons is going to be a unique experience never seen before. _
[Abm] This has something for [A] everybody.
If you love animals, this show is going to be for you.
[E] If you love [A] flying and acrobatics and [E] athletics and gymnastics, [A] this show is for you.
If you love diving, if you love water sports and that sort of thing, this [E] show is for you.
I think the best thing though [A] too is the fact that we have [Em] a [B] storyline that [Gb] everyone can
relate to, from little girls to boys to moms and dads.
And it's really about the [B] message that the show has [Db] that I think is really going to draw people in.
Besides the spectacle, [Gb] which I think is easy to talk about, besides this incredible set
and incredible music and again seeing a unique experience [B] that you won't have seen anywhere
else, [Db] the fact is that you're going to see [Ab] a unique story and you're going to go on an
adventure and a journey and enjoy that experience with the characters that are in the show.
And I think [Db] you'll come out of this [Eb] with an emotion, a [Ab] feeling, an [Ab] excitement that [Db] you're
not going to get from any other show. _ _
_ _ [Eb] _ _ _ _ [Ab] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Bm] _
_ _ _ _ _ _ _
The story [N] takes place in that beautiful, gorgeous place that happens right where [Gb] the water meets
the sky, what we call the blue horizon.
[Ebm] And it's a wonderful story about a young girl who has an imagination, who would love to
be able to swim with the dolphins and [Bbm] soar with the birds.
[E] So she actually now [B] goes through this beautiful journey [D] where she meets the dolphins and she
runs [Gb] into sort of the spirit of the sea and the spirit of the sky.
[Bm] And in doing so, it completely [E] changes her life.
And hopefully in [Gb] the end, she gets a chance to do her dream, which [Ebm] is swim with the dolphins
and fly with the [A] birds.
_ [Gb] _ _ [Abm] I _
[E] _ [Ebm] was trying to [Abm] evoke the idea that in [Dbm] the show, _
_ [B] there are times [Em] in the show when we're
– are we in the [B] water or are we in the sky?
[G] And so I wanted the environment [A] to be [B] almost like the sky had spiraled down into the water
and [A] the water had spiraled back up into the [Dm] sky.
So in trying to represent that, and there's an enormous series of wave structures that
are on the set, but they're [E] surrealistic in their representation on stage.
They're not literally a wave.
We wanted something just a little bit more abstract and more theatrical.
So [Em] the idea is that even though it looks like a big [E] wave, it's really made up of, for
me, parts [B] of the feathers on a bird.
There's [C] also an exaggeration, like how are we going to represent the foam of the sea?
And so we wanted something that could [Em] be bubble-like.
It was bubbles [G] like it was underwater, but also like it could possibly [E] be interpreted
if you were sitting in the audience, oh, they're clouds.
_ _ The whole space is ensconced by this [Abm] enormous curvilinear [Ab] undulating truss that [E] wraps over the pool.
And the whole purpose for the truss is [Db] twofold.
One of the things [E] I'm really pleased with about it is as you sit in the space and you
[Ab] look and watch the show, it kind of provides a little [B] picture frame.
[Dbm] But the other thing is that it, [Gbm] of course, is that it's supporting [E] all the technical
side of the show to [A] make all these fantastic things happen where we're actually getting
to see people as birds [Dbm] fly through the sky and [B] do all these fantastic tricks.
_ [Gb] _ _ _ _ _
_ _ [E] _ _ [Bb] When you look at the venue, the size of [F] the venue, and then you look at the show and the
scope of the show, how big it is, we felt that the best direction to go was to do a
[Bbm] big symphonic score. _ _ _ _ _ _ _
The dolphins and the whales in and of themselves [D] and the actions and behaviors that they do
are big.
They deserve to be underscored with magnificent music.
_ [G] _
_ _ [Dm] We also wanted [E] something a little unique.
We didn't want something that was _ extremely rock or contemporary, something that was wholly
[Dm] identified with a certain genre of show [Gm] or a certain genre of music.
[D] But it's something that was a very [Dm] broad piece of music that could appeal to everybody.
_ [D] _
_ [Am] _ _ [Bb] _ _ [C] _ _ _
[Dm] _ _ I [Bb] believe that the [C]
show that we're doing now, Blue [Dm] Horizons, is actually an embodiment of
what I believe SeaWorld [D] is all about, which is transforming people's relationships [A] with
animals and nature.
[Em] Marina is the main character of the show.
[B] So I put [Em] her in pink so that she would be really easy to spot.
And it's [C] also feminine and girlish and [D] just instantly recognizable.
_ [Em] Delphus and Aurora are two secondary principal [C] characters.
And they are [D] actually animals that come to life as human beings.
[Em] The high divers and the cloud swings are also meant to be [C] birds.
The bungee jumpers are also [Em] part of the storm sequence.
So we needed something kind of [Gb] dark and ominous in a way without being creepy and scary.
[F] _ _ [Db] _ [Eb] From an animal training [Fm] perspective, Blue Horizons is unique in that we are not [Db] really
letting the audience see our [Eb] signals.
We're trying to make it look more [Bbm] like the animals are leading us and we're interacting
with the animals.
So [Eb] there was a lot of training that went on to creating much more subtle signals, training
an entirely [F] new underwater tone system for the animals so that they come to [Db] the pool
and leave the pool without the audience [F] ever seeing a human being on stage.
There was a lot of different perspectives.
[Bbm] There's also a huge new [F] environment that we're in, that animals [Db] have never interacted with
something over the top of them.
There's a huge trust system [Bbm] that is there to support all of the other [Ab] elements of the show.
There are birds flying over their [Db] heads during the show.
So we had to [Cm] desensitize them to all of these things [Fm] in their world.
_ _ _ _ _ _ [E] _
Blue [E] Horizons is going to be a unique experience never seen before. _
[Abm] This has something for [A] everybody.
If you love animals, this show is going to be for you.
[E] If you love [A] flying and acrobatics and [E] athletics and gymnastics, [A] this show is for you.
If you love diving, if you love water sports and that sort of thing, this [E] show is for you.
I think the best thing though [A] too is the fact that we have [Em] a [B] storyline that [Gb] everyone can
relate to, from little girls to boys to moms and dads.
And it's really about the [B] message that the show has [Db] that I think is really going to draw people in.
Besides the spectacle, [Gb] which I think is easy to talk about, besides this incredible set
and incredible music and again seeing a unique experience [B] that you won't have seen anywhere
else, [Db] the fact is that you're going to see [Ab] a unique story and you're going to go on an
adventure and a journey and enjoy that experience with the characters that are in the show.
And I think [Db] you'll come out of this [Eb] with an emotion, a [Ab] feeling, an [Ab] excitement that [Db] you're
not going to get from any other show. _ _
_ _ [Eb] _ _ _ _ [Ab] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Bm] _