Chords for Martin Eric Clapton "Crossroads" Signature Guitars : Presented By Guitar Center

Tempo:
117.7 bpm
Chords used:

A

D

E

G

Em

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Martin Eric Clapton "Crossroads" Signature Guitars : Presented By Guitar Center chords
Start Jamming...
Yeah,
[A]
okay.
[G#m] They're both beautiful.
[A]
[D] [A]
[D] [C#m] [A]
[D] [E]
[Em] [E]
[G] [Em] [E]
Yeah, [F#] [Em]
these are great.
Well, let me compare [N] them.
Fantastic figuring.
[F#m]
[G#m] [A] [Em] [D#m] [A]
[D]
[E] [A]
[D] [A]
[D] [Am]
[D] [A]
[G] [A]
[B] [A]
[E] [C#m]
[A] [N] Lovely.
They're perfect, absolutely perfect.
The colours are great, the top wood is beautiful,
the grain in the back is fantastic,
and the inlay in the back, on the 28.
They
[D] [A] [G] are [D] unique to one another.
[A]
[Em] [E]
I mean, I would pay [G] the extra for the 45 if it was me.
LAUGHTER
[N] That has got a very round tone, but that one's got
It's bright and louder, a tiny bit louder for my ear.
Yeah.
I actually like really basic guitars too.
I mean, I travelled through the 70s with a 28 and I loved it
and it got battered.
They're more
I tend to think that you can actually treat them
with less reverence or they become tools if they're [B] basic,
you know, whereas [C#m] these, [N] they're a little bit
Because they're so showy, I think one would be more inclined
to take care of it and be in awe of it, you know.
You could get these kind of guitars, not these kind of guitars,
but, you know, [E] facsimiles on the higher purchase, on [N] terms, you know.
So that's how I got into it and I tried and I don't think I had
the right kind of motivation to begin with, but the more
I've always loved listening to music, I've been a compulsive listener
and that sort of really pushed me into having another go
when I was in my mid-teens, only about 16, I really tried to nail it
and I felt like I was making progress at that point
and I had seen, funnily enough, you know, proper guitars.
I not really, wasn't conscious of who was playing what.
It's just that I had seen Big Bill Brunzi playing a triple-O,
you know, 28 in some footage and I thought, well,
that's obviously the holy [A] grail, we'll never get there,
but it's something to aspire [N] to.
And, you know, there were a lot of other makers,
but the one that had the seal of approval, really,
from the master musicians was Martin.
So it was only a matter of course until I tried to figure out
why that was, you know, I had to get my hands on one.
And I remember being at Illpio Island one night
with a mate of mine called Dave Brock, who later formed Hawkwind,
and we were big mates and playing guitar together a lot
and I can't remember what I was playing, but it may have been the Washburn,
and someone said, you ought to have a look at this,
and we were outside and they opened this, you know, proper hard case,
I mean, you didn't see any, [G] I carried my guitar around in a sort of sack,
you know, they had a case and they opened it up
and there was this dreadnought in there, you [G#] know,
and it was like a bit of light shone out of the case, you know,
it was so precious and significant.
And we were allowed, the guy let us, I don't know,
it might have been a folk musician, I can't remember who it was,
but I felt that neck, you know, the triangulated neck,
and I thought, this is fantastic.
And it's always [N] been, you know, I hate to say it,
but it's been my experience ever since that,
that the proper guitars, and therefore probably the most expensive guitars,
are always going to be the easiest ones to play,
because they're just [E] made for playing, you know,
the motive behind the making of the guitar is 100% right,
and so if you already have a little [Am] bit of a faculty,
it's going to be a lot easier to play a proper guitar.
And eventually I got my hands on, you know, a [A] Martin.
[D] [G]
[A]
[Am]
[A]
[E] The [N] guitar has to be friendly, you know,
it's got to give me, you know, a little bit of assistance,
otherwise I'll put it down, I won't bother, you know,
and I've tried, you know, some of those short scale,
the early 45s, very fascinating guitars to me,
you know, the narrow body ones that were made around the 1900s,
and they're gorgeous, but I found them very hard to play,
and I suppose because it's the shorter scale, you can't, you know,
the actions can be quite tough.
So I kind of focused on, you know, the 30s and the 40s.
I had a beautiful OM, you know, that I used on Unplugged,
which was absolutely stunning, and I put that in one of the auctions.
But so for me, what's been extraordinary about doing these,
the EC guitars is that I've used, actually,
that guitar became the sort of template for most of those guitars,
you know, they measured the action and they got the neck pretty much
to match that old [B] OM, [D] and so that's the thing,
is I've found something that works for me, and, [C] you know,
and I am a layman, I am a journeyman musician,
so it makes sense to me that, you know,
other players would probably respond to that.
Key:  
A
1231
D
1321
E
2311
G
2131
Em
121
A
1231
D
1321
E
2311
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_ _ _ _ _ _ _
Yeah, _ _ _ _ _ _ _
_ _ [A] _ _ _ _ _ _
okay.
_ _ _ [G#m] They're both beautiful.
[A] _ _ _ _ _ _ _ _
_ [D] _ _ [A] _ _ _ _ _
_ _ [D] _ _ [C#m] _ [A] _ _ _
_ _ _ [D] _ [E] _ _ _ _
[Em] _ [E] _ _ _ _ _ _ _
[G] _ _ [Em] _ _ _ [E] _ _ _
_ _ _ _ _ _ Yeah, _ [F#] _ [Em] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ these are great.
Well, let me compare [N] them. _
_ _ _ _ _ _ Fantastic figuring.
_ _ _ _ _ [F#m] _ _
[G#m] _ [A] _ _ _ _ [Em] _ [D#m] _ [A] _
_ _ _ [D] _ _ _ _ _
[E] _ _ _ _ [A] _ _ _ _
_ _ _ [D] _ [A] _ _ _ _
_ [D] _ _ _ [Am] _ _ _ _
[D] _ _ [A] _ _ _ _ _ _
_ [G] _ _ [A] _ _ _ _ _
_ [B] _ _ _ _ [A] _ _ _
_ [E] _ _ _ _ _ _ [C#m] _
_ [A] _ _ _ [N] Lovely.
They're perfect, absolutely perfect.
The colours are great, the top wood is beautiful,
_ the grain _ _ _ in _ the back is fantastic,
and the inlay in the back, on the 28.
_ They _
[D] _ [A] _ [G] are [D] unique to one another.
_ [A] _
_ _ _ _ _ _ [Em] _ [E] _
_ _ _ I mean, I would pay [G] the extra for the 45 if it was me.
_ LAUGHTER
[N] That has got a very round tone, but that one's got_
It's bright and louder, a tiny bit louder for my ear.
_ Yeah.
I actually like really basic guitars too.
I mean, I travelled through the 70s with a 28 and I loved it
and it got battered.
_ They're more_
I tend to think that you can actually treat them
with less reverence or they become tools if they're [B] basic,
you know, whereas [C#m] these, _ _ [N] they're a little bit_
Because they're so showy, _ I think _ one would be more inclined
to take care of it and be in awe of it, you know.
You could get these kind of guitars, not these kind of guitars,
but, you know, [E] facsimiles _ _ on the higher purchase, on [N] terms, you know.
So that's how I got into it and I tried and I don't think I had
the right kind of motivation to begin with, but the more_
I've always loved listening to music, I've been a compulsive listener
_ and that sort of really pushed me into having another go
when I was in my mid-teens, only about 16, I really tried to nail it
and I felt like I was making progress at that point
and _ I had seen, funnily enough, you know, proper guitars.
I not really, wasn't conscious of who was playing what.
It's just that I had seen Big Bill Brunzi playing a triple-O,
you know, 28 in some footage and I thought, well,
_ that's obviously the holy [A] grail, we'll never get there,
but it's something to aspire [N] to.
And, you know, there were a lot of other makers,
but the one that had the seal of approval, really,
from the master musicians was Martin.
So it was _ _ only a matter of course until I tried to figure out
why that was, you know, I had to get my hands on one.
And I remember being at Illpio Island one night
with a mate of mine called Dave Brock, who _ later formed Hawkwind,
and we were big mates and playing guitar together a lot
and I can't remember what I was playing, but it may have been the Washburn,
and someone said, you ought to have a look at this,
and we were outside and they opened this, you know, proper hard case,
I mean, you didn't see any, [G] I carried my guitar around in a sort of sack,
you know, they had a case and they opened it up
and there was this dreadnought in there, you [G#] know,
and it was like a bit of light shone out of the case, you know,
it was so precious and _ significant.
And we were allowed, the guy let us, I don't know,
it might have been a folk musician, I can't remember who it was,
but I felt that neck, you know, the triangulated neck,
and I thought, this is fantastic.
And it's always [N] been, you know, I hate to say it,
but it's been my experience ever since that,
that the proper guitars, and therefore probably the most expensive guitars,
are always going to be the easiest ones to play,
because they're just [E] made for playing, you know,
the motive behind the making of the guitar is 100% right,
and so if you already have a little [Am] bit of a faculty,
it's going to be a lot easier to play a proper guitar.
And eventually I got my hands on, you know, a [A] Martin. _
_ _ _ _ _ _ _ _
_ _ _ [D] _ _ _ _ [G] _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ _ [Am] _ _
_ _ _ _ _ _ _ _
_ _ _ [A] _ _ _ _ _
_ _ [E] _ _ _ The [N] guitar has to be friendly, you know,
it's got to give me, you know, a little bit of assistance,
_ _ otherwise I'll put it down, I won't bother, you know,
and I've tried, you know, some of those short scale,
the early _ 45s, _ very fascinating guitars to me,
you know, the narrow body ones that were made around the 1900s,
and they're gorgeous, but I found them very hard to play,
and I suppose because it's the shorter scale, you can't, you know,
the actions can be quite tough.
So I kind of focused on, you know, the 30s and the 40s.
I had a beautiful OM, you know, that I used on _ Unplugged,
which was absolutely stunning, and I put that in one of the auctions.
But so for me, what's been extraordinary about doing these,
_ the EC guitars is that I've used, actually,
that guitar became the sort of template for most of those guitars,
you know, they measured the action and they got the neck pretty much
to match that old [B] OM, _ [D] _ and so that's the thing,
is I've found _ something that works for me, and, [C] you know,
and I am a layman, I am a journeyman musician,
so it makes sense to me that, you know,
other players would probably respond to that. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _

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