Chords for PAUL MCCARTNEY SONGWRITING FOR STANDING STONE
Tempo:
101.2 bpm
Chords used:
G
C
Dm
E
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
And [G] then someone had mentioned [C] to me [F] computers having [Db] a music program now.
[C] So I thought, wow, technology is [Cm] catching up with exactly my [G] requirements now.
Because I [G] can play things into a keyboard [C] quite reasonably,
and then if I get it right it will go up on the program, I can fiddle [Bbm] with it,
and then I should be able to just press a button and print it out,
[Fm] then show it to my musician friends and say, can you play that?
Well, that's the theory.
It didn't quite work out like that.
[B]
[C]
[Bbm]
This
[Bb] [Bbm] [Fm]
[Gb] [Ebm] [Gb]
[Bbm]
is the computer that I wrote the piece on.
And when we [E] took delivery of it, I knew really nothing about computers or this music program.
Not being immersed in this traditional method of notation,
it's a requirement for me to actually physically listen to it.
So this allows me to do that.
[Dm] This is a piece from the third movement.
What you can do is you can, for instance, [Am] look at the oboe by selecting oboe.
[G]
[C] Now say I wasn't quite happy with that note.
That note there.
This allows me to move him.
So say I just want it [E] arbitrarily.
And then you can just try [Am] it.
So here he is, the culprit.
[E] Got a new note.
[G]
Ha!
No!
We won't have that.
Getting into funny noises time.
Is that [G] my shirt?
What is it?
Come on, you tell me.
I've got instruments coming out of my trousers.
This particular idea is for the string quartet to end this movement.
Virtually.
I'll go right towards the end.
It carries on like this, this little quartet.
After the orchestra's been, we have the kitchen sink over here.
We have them really going mad.
We bring them right down to a little quartet,
which I've yet to see if it'll work, by the way.
We've got to get to the real players.
But here it seems like an interesting place to go after all the noise
and all the banging that's been going on.
[Gm]
There's the [Dm] oboe.
This is the quartet coming in.
[B]
[D] [C]
[Dm] [B] Quartet.
You see where they [Am] are.
[A]
[Dm]
[Am] Going into the cello.
[C] We go in here.
[Gm] [E]
[Em] [Dbm] [Dm]
[D]
[Dm]
[Am]
[C] [G]
[G] [Gm]
[E]
[C] So I thought, wow, technology is [Cm] catching up with exactly my [G] requirements now.
Because I [G] can play things into a keyboard [C] quite reasonably,
and then if I get it right it will go up on the program, I can fiddle [Bbm] with it,
and then I should be able to just press a button and print it out,
[Fm] then show it to my musician friends and say, can you play that?
Well, that's the theory.
It didn't quite work out like that.
[B]
[C]
[Bbm]
This
[Bb] [Bbm] [Fm]
[Gb] [Ebm] [Gb]
[Bbm]
is the computer that I wrote the piece on.
And when we [E] took delivery of it, I knew really nothing about computers or this music program.
Not being immersed in this traditional method of notation,
it's a requirement for me to actually physically listen to it.
So this allows me to do that.
[Dm] This is a piece from the third movement.
What you can do is you can, for instance, [Am] look at the oboe by selecting oboe.
[G]
[C] Now say I wasn't quite happy with that note.
That note there.
This allows me to move him.
So say I just want it [E] arbitrarily.
And then you can just try [Am] it.
So here he is, the culprit.
[E] Got a new note.
[G]
Ha!
No!
We won't have that.
Getting into funny noises time.
Is that [G] my shirt?
What is it?
Come on, you tell me.
I've got instruments coming out of my trousers.
This particular idea is for the string quartet to end this movement.
Virtually.
I'll go right towards the end.
It carries on like this, this little quartet.
After the orchestra's been, we have the kitchen sink over here.
We have them really going mad.
We bring them right down to a little quartet,
which I've yet to see if it'll work, by the way.
We've got to get to the real players.
But here it seems like an interesting place to go after all the noise
and all the banging that's been going on.
[Gm]
There's the [Dm] oboe.
This is the quartet coming in.
[B]
[D] [C]
[Dm] [B] Quartet.
You see where they [Am] are.
[A]
[Dm]
[Am] Going into the cello.
[C] We go in here.
[Gm] [E]
[Em] [Dbm] [Dm]
[D]
[Dm]
[Am]
[C] [G]
[G] [Gm]
[E]
Key:
G
C
Dm
E
Am
G
C
Dm
And [G] _ then someone had mentioned [C] to me [F] computers having [Db] a music program now.
[C] So I thought, wow, technology is [Cm] catching up with exactly my [G] requirements now.
Because I [G] can play things into a keyboard [C] quite reasonably,
_ and then if I get it right it will go up on the program, I can fiddle [Bbm] with it,
and then I should be able to just press a button and print it out,
[Fm] then show it to my musician friends and say, can you play that?
_ Well, that's the theory.
_ It didn't quite work out like that.
[B] _
_ _ _ _ _ _ _ [C] _
_ _ _ _ [Bbm] _ _ _ _
_ This _ _ _ _ _
_ [Bb] _ _ [Bbm] _ _ _ _ [Fm] _
[Gb] _ _ _ [Ebm] _ _ _ _ [Gb] _
_ _ _ _ _ _ _ [Bbm] _
_ _ _ _ _ _ _
is the computer that I wrote the piece on.
And when we [E] took delivery of it, I knew really nothing about computers or this music program.
Not being immersed in this traditional method of notation,
it's a requirement for me to actually physically listen to it.
So this allows me to do that.
[Dm] This is a piece from the _ third movement.
_ What you can do is you can, for instance, [Am] look at the oboe by selecting oboe.
_ [G] _
_ _ _ [C] _ _ Now say I wasn't quite happy with that note.
_ _ That note there.
This allows me to move him.
So say I just want it [E] arbitrarily.
_ And then you can just try [Am] it.
So here he is, the culprit.
[E] Got a new note.
_ [G] _
Ha!
No!
We won't have that.
Getting into funny noises time.
Is that [G] my shirt?
What is it?
Come on, you tell me.
I've got instruments coming out of my trousers.
_ _ This particular idea is for the string quartet to end this movement.
_ Virtually.
I'll go right towards the end.
It carries on like this, this little quartet.
After the orchestra's been, we have the kitchen sink over here.
We have them really going mad.
We bring them right down to a little quartet,
which I've yet to see if it'll work, by the way.
We've got to get to the real players.
But here it seems like an interesting place to go after all the noise
and all the banging that's been going on.
[Gm] _ _
_ _ _ _ _ There's the [Dm] oboe.
This is the quartet coming in.
_ _ _ [B] _
_ _ _ [D] _ _ _ _ [C] _
_ _ _ _ [Dm] _ _ [B] Quartet.
_ _ _ _ _ You see where they [Am] are.
_ _ _ _ [A] _ _ _
_ [Dm] _ _ _ _ _ _ _
_ [Am] Going into the cello.
_ [C] We go in here. _ _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ [E] _
_ [Em] _ _ [Dbm] _ _ [Dm] _ _ _
_ [D] _ _ _ _ _ _ _
_ _ _ _ _ [Dm] _ _ _
_ _ _ _ _ _ [Am] _ _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ _ [G] _
_ _ _ [G] _ _ _ _ [Gm] _
_ _ _ _ _ _ [E] _ _
[C] So I thought, wow, technology is [Cm] catching up with exactly my [G] requirements now.
Because I [G] can play things into a keyboard [C] quite reasonably,
_ and then if I get it right it will go up on the program, I can fiddle [Bbm] with it,
and then I should be able to just press a button and print it out,
[Fm] then show it to my musician friends and say, can you play that?
_ Well, that's the theory.
_ It didn't quite work out like that.
[B] _
_ _ _ _ _ _ _ [C] _
_ _ _ _ [Bbm] _ _ _ _
_ This _ _ _ _ _
_ [Bb] _ _ [Bbm] _ _ _ _ [Fm] _
[Gb] _ _ _ [Ebm] _ _ _ _ [Gb] _
_ _ _ _ _ _ _ [Bbm] _
_ _ _ _ _ _ _
is the computer that I wrote the piece on.
And when we [E] took delivery of it, I knew really nothing about computers or this music program.
Not being immersed in this traditional method of notation,
it's a requirement for me to actually physically listen to it.
So this allows me to do that.
[Dm] This is a piece from the _ third movement.
_ What you can do is you can, for instance, [Am] look at the oboe by selecting oboe.
_ [G] _
_ _ _ [C] _ _ Now say I wasn't quite happy with that note.
_ _ That note there.
This allows me to move him.
So say I just want it [E] arbitrarily.
_ And then you can just try [Am] it.
So here he is, the culprit.
[E] Got a new note.
_ [G] _
Ha!
No!
We won't have that.
Getting into funny noises time.
Is that [G] my shirt?
What is it?
Come on, you tell me.
I've got instruments coming out of my trousers.
_ _ This particular idea is for the string quartet to end this movement.
_ Virtually.
I'll go right towards the end.
It carries on like this, this little quartet.
After the orchestra's been, we have the kitchen sink over here.
We have them really going mad.
We bring them right down to a little quartet,
which I've yet to see if it'll work, by the way.
We've got to get to the real players.
But here it seems like an interesting place to go after all the noise
and all the banging that's been going on.
[Gm] _ _
_ _ _ _ _ There's the [Dm] oboe.
This is the quartet coming in.
_ _ _ [B] _
_ _ _ [D] _ _ _ _ [C] _
_ _ _ _ [Dm] _ _ [B] Quartet.
_ _ _ _ _ You see where they [Am] are.
_ _ _ _ [A] _ _ _
_ [Dm] _ _ _ _ _ _ _
_ [Am] Going into the cello.
_ [C] We go in here. _ _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ [E] _
_ [Em] _ _ [Dbm] _ _ [Dm] _ _ _
_ [D] _ _ _ _ _ _ _
_ _ _ _ _ [Dm] _ _ _
_ _ _ _ _ _ [Am] _ _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ _ [G] _
_ _ _ [G] _ _ _ _ [Gm] _
_ _ _ _ _ _ [E] _ _