Chords for Pat Metheny - The Orchestrion EPK

[Em] _ _ _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
[Bm] _ _ [Em] _ _ _ _ _ _
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_ _ _ _ _ _ I didn't know quite what to expect when I started this whole thing, especially making a record with it.
The result is absolutely nothing like I ever would have imagined. _
It _ _ _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ got me to get to some places I've never been, and [D] that's a [Em] pretty cool thing.
_ _ _ _ [Bm] _
_ [Em] _ I've _ _ _ [Bm] _
_ _ [G] _ _ [D] _ _ [B] _ _
[E] _ _ _ [Ebm] _ _ _ always been fascinated with the idea of music and the way it ultimately comes to exist.
[Abm] _ _ _ _ [C] _
[Bb] _ _ [Gm] _ _ [Abm] _ _ _ _
[B] _ _ _ [Bm] _ _ _ [Em] _
Certainly playing an instrument has 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 _ [Ab] ancient, but at the same [C] time it seemed [Eb] like the future.
_ [G] _ _ [Cm] _
_ _ _ [Bbm] _ [Gb] _ _ _ _
[Fm] _ [Bb] _ _ _ [B] _ _ [Ebm] From then and for the [Bb] rest of my life, I've always [Ab] been interested in that [B] whole world,
particularly [E] that period that followed player pianos, where orchestrions [Bb] emerged,
[Db] which were essentially [Eb] taking the idea of a [G] player piano and expanding it [Ebm] to include sometimes drums,
_ mallet instruments, sometimes whistles, all kinds of [Em] mechanical _ [Ebm] components that [A] somehow made [Bb] a musical sound.
[Eb] _ _ _ _ _
_ _ It [Abm] was also something [A] that occurred [Em] to me through the years that [Bb] had not really been [Gbm] explored that [E] much,
especially by more contemporary [Eb] kinds of musicians.
[Db] _ _ [B] _ [G] _ _ [C] _
_ [Eb] _ [E] _ [B] _ _ _ [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 _ by using _ [Db] 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.
_ [B] _ _ [Cm] _ _ _
[Db] Basically [Gb] _ _ _ _ _ [Bbm] _ _
_ [B] _ _ [Db] _ _ [D] _ [E] _ _
[Ab] _ [Db] _ [Ab] _ _ [B] _ _ _ _
[G] _ _ _ _ [Cm] _ _ [Bbm] _ _
_ [Gb] _ _ _ _ _ _ _
how this works [N] 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 simple way, if I play a note,
_ [E] _ _ _ _ _
_ _ _ _ _ [Gb] _ _ _
_ _ you [D] can see _ that [G] pretty much as I do [Bm] everything, _
_ _ _ _ [E] _ _ the physical event occurs.
And it's that way for all the instruments, like I could do it with the orchestra bells up there. _ _ _
Mostly what's happening [Bb] 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 get the best [A] musical result. _
[F] _ _ _ _ [Dm] _ _ _ _
_ _ _ _ _ _ _ _
_ [D] _ _ _ [E] _ _ _ _
_ _ [F] There are many aspects of this that are unique,
but one of the _ _ really interesting things is that it is so personal to 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 [E] or another.
So like from the _ most _ _ [G] _ 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 [F] that it's playing with,
[E] all of it is stuff that is really _ kind of fundamental to the way that I hear things. _ _
_ [Dm] So _ _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ [Am] _ _ _ _ _
_ _ _ _ _ [A] _ _ [Am] _
_ _ _ [D] _ _ _ _ _
_ _ [Em] _ _ _ _ _ _
_ _ [Am] _ _ _ _ _ _
_ _ _ _ [F] _ _ _ _
_ _ _ when [Ab] 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,
[G] I can lean into that [C] 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, I guess, [Ab] to my [D] taste. _ _ _ _ _ _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ [A] _ _ _ _ _
[F] _ _ _ _ _ _ _ _
[Dm] _ _ _ _ _ [D] _ _ _
[F] _ [E] _ _ _ _ _ _ _
_ [F] _ _ _ _ _ _ [Am] _
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[D] _ _ _ _ _ _ _ _
[A] _ _ _ _ [E] _ _ _ _
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[F] _ _ _ _ _ _ _ _