Chords for Pat Metheny Introduces "Orchestrion"

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_ _ _ _ _ [Em] I didn't know quite what to expect when I started this [E] whole thing, especially making a [Em] record with it.
The result is absolutely nothing like I ever would have imagined. _ _ _ _ _ _ _
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It got me to get to some places I've never been, and that's a pretty cool thing.
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_ [Abm] _ _ _ [Ebm] _ _ I've always been fascinated with the idea of music and the way it ultimately comes to exist.
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_ [B] _ _ _ [E] _ _ Certainly playing an instrument has [C] been a big part of my life since I was a little kid,
and my whole family's [Ebm] musical, including my grandfather on my mom's side, who was a great musician.
He was incredible.
And in his basement he had a player piano that was, for me, the first stop [B] whenever we would go to visit them.
And it was [E] just something so interesting to me.
It was something that was [Eb] like ancient, but at the [C] same time it seemed [Eb] like the future.
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[B] _ [Ebm] From then and for [F] the rest of my life, I've [Ab] always been interested in that [B] whole world,
[Em] particularly that period that followed [E] player pianos where orchestrions emerged,
[G] which were essentially taking [Eb] the idea of a player piano [Ab]
and expanding it to include [Ebm] sometimes drums,
mallet instruments, sometimes whistles, all [Em] kinds of mechanical [Bb] components
that [Ab] somehow made [G] a musical sound.
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_ _ [Db] _ _ [Ebm] It was [Abm] also something that occurred to [Em] me through the years [Bb] that had [Eb] not really been [Gbm] explored that [E] much,
especially by more contemporary kinds of musicians.
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[Fm] This whole process really kind of began in earnest for me about four years ago
when the world's greatest guitar _ repairman, his name is Mark Herbert up in Boston,
kind of solved a problem for me [Eb] by using solenoids to allow me to play this one particular guitar with my [Bb] feet,
which sounds like a weird thing to do, _ but it was kind of on my request list.
And Mark sort of opened up this door of solenoid [Fm] potential to me.
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_ _ _ Basically how this works is that every instrument is capable of getting instructions _ sort of from a variety of sources.
Being a guitar player, mostly I gave it instructions from the guitar, which just in a [D] simple way,
if I play a note, _ _ _ _
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you [Gb] can see _ that [B] pretty much as I do [Gbm] everything, _ _ _ _ [Em] _ _
the physical event occurs.
And it's that way for all the instruments.
Like, you know, I could do it with the orchestra bells up there.
[F] _ _ Mostly what's happening here is that I've kind of created a very specific _ universe
for these instruments to do what they do on these very specific tunes.
I'm kind of [Em] learning what their parameters are and going as deep into those as I can to try to [A] get the best musical result.
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[E] _ _ [A] There are many aspects of this that are unique,
but one of the _ really interesting things is that it is so personal to [Am] the way that I hear music.
And a lot of that is because literally every sound that's there is [Eb] a sound that I made somehow or [E] another.
So like from the _ most _ [A] teeny tiny percussion part to the bass part to the piano part
to the way the ride cymbal is playing and the kind of dynamics that it's playing with,
all of it is stuff that is [E] really kind of fundamental to the way that I hear things. _ _
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_ _ So [Ab] when I'm then improvising with that, it's a very odd kind of connection _
between all of these kind of composite details and what I sort of come up with just on the fly.
And there's been a thing that musicians have known about for years,
which is when you overdub with yourself in a recording studio, you get a certain kind of match.
It's sort of like your fingerprint goes with your fingerprint, you know, and you can't miss.
It's just a match.
And that's kind of the feeling that I have as I'm playing with this.
It's like, yeah, I really like what the drummer is doing there.
And if I want to give him the feeling of like sort of lift or moving with it,
[C] I can lean into that myself as an improviser and sort of [Cm]
almost create the illusion of movement
in terms of time and space and all that.
That's, I think, built into the music and gives the whole composite a certain kind of swing
or something that is, you know, very specific to, [Ab] I guess, to my [D] taste.
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