Chords for Pedro Bromfman - NARCOS Composer Interview HD (Official Video)
Tempo:
108.6 bpm
Chords used:
D
Ebm
Bb
F
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bb]
[B] Hi, my name is Pedro Bronfman.
I [Ebm] composed the score for Narcos.
[D] I've been in [Eb] rock and roll, [Ebm] heavy metal bands.
I've played Brazilian music.
I [D] went to Argentina to study tango.
[Abm] I was a jazz -obsessed aficionado.
[Ebm] I studied a lot of jazz at Berkeley.
I played in [Abm] a lot of different formations.
Funny enough, I started [Ebm] writing a lot of library music and mostly [F] romantic comedy.
It was really through doing it that [Ab] I learned my chops in the [Abm] computer,
which now I [G] consider my number one instrument.
I [Bb] still play a lot and I play a lot of instruments,
but [Bm] I really make the magic once things are [D] inside the computer
and I can process things and twist things around and make things sound really different and interesting.
On Narcos, we had [Dm] this talk that we wanted to use [D] Colombian instruments.
We wanted to have that sound, not necessarily playing [Ab] Colombian rhythms,
not necessarily playing cumbias and bajonatos and [G] bambucos,
[Ab] but [G] using those instruments in a more mainstream crime action suspense type of score.
[Bb]
I've always [Eb] been passionate about music.
My mom was a [Gb] big music lover.
She always said she had dreams of [Db] being a singer.
[Gbm]
[Dbm] I grew up [Eb] in Rio, [G] in Brazil, and [Ab] my first guitar was an island string guitar [Db] like every [A] Brazilian [Ab] musician.
But to be honest, [Dbm] I was a lot more interested in jazz.
[Ab] Narcos is a fascinating project, to be honest.
Not only the characters are obviously bigger than life, but they're all so complex.
[Gm]
[F] There are action moments and there are moments where everything's blasting,
but a couple of people told [Cm] me, wow, it's surprisingly melodic and mellow for what you'd expect for a [Dm] show like this.
And it does [A] have some noir elements, some [D] jazz elements that, to be honest, I wasn't even [A] thinking while I was [Eb] writing it.
Working on a 10 [Em]-episode series, you're just able to explore the characters a lot [F] more and to write.
[D] I mean, I don't think I've ever [Cm] done a more [E] thematic work than on Narcos.
[C] You can play around [F] with themes when you have a longer arc.
I think [G] when you have a two-hour feature, if you have too many themes or too many different musical [G] directions,
you can just confuse yourself and [Bb] confuse the audience ultimately.
And on a show not like Narcos, you [Gbm] can hint on a little theme from this [Ebm] character that just has a very [Gb] small part in episode one,
but maybe [B] he is the climax [Db] of episode six.
[Gb] And then you've already established that and you played [Ab] it throughout.
[Db] [Gb]
[Gb] [Ebm] The first piece I composed [Abm] ended up being one of [B] Escobar, because Escobar has a couple of themes.
[D] He's such a complex character.
And in the beginning, he's this, I mean, he's already this vicious [D] businessman,
but he is this guy who has hopes for Colombia, who wants to be president, who thinks he can help the poor.
I think that piece really managed to [G] get all of the emotions I was [D] thinking about.
After reading the first script, I think it's the first time something came [B] to me like that.
We were sitting on the porch and I [D] grabbed a drum roco, an instrument from [Ebm] South America with my wife.
She was having a beer and I started playing.
And that's, I mean, literally the [Abm] harmony that I came up with out [Gb] there ended up being the main theme for the way before I [Abm] saw any footage,
way before they were even shooting the show, I think.
And that ended up being the main thing that [F] goes with Escobar throughout the episodes.
[Bb]
This is a ronroco.
It's an [F] instrument from the north of [Fm] Argentina and [Bb] Bolivia, Peru.
So I was just [Ebm] playing around with this instrument and this sort [D] of harmony and melody,
this finger [Eb] picking came to me for the [G] Escobar idea.
And it [Eb] ended up actually being that.
[Ebm] [Bb]
[Bb] [F]
[Ebm] [F]
[Bb]
[Bbm]
[B] Hi, my name is Pedro Bronfman.
I [Ebm] composed the score for Narcos.
[D] I've been in [Eb] rock and roll, [Ebm] heavy metal bands.
I've played Brazilian music.
I [D] went to Argentina to study tango.
[Abm] I was a jazz -obsessed aficionado.
[Ebm] I studied a lot of jazz at Berkeley.
I played in [Abm] a lot of different formations.
Funny enough, I started [Ebm] writing a lot of library music and mostly [F] romantic comedy.
It was really through doing it that [Ab] I learned my chops in the [Abm] computer,
which now I [G] consider my number one instrument.
I [Bb] still play a lot and I play a lot of instruments,
but [Bm] I really make the magic once things are [D] inside the computer
and I can process things and twist things around and make things sound really different and interesting.
On Narcos, we had [Dm] this talk that we wanted to use [D] Colombian instruments.
We wanted to have that sound, not necessarily playing [Ab] Colombian rhythms,
not necessarily playing cumbias and bajonatos and [G] bambucos,
[Ab] but [G] using those instruments in a more mainstream crime action suspense type of score.
[Bb]
I've always [Eb] been passionate about music.
My mom was a [Gb] big music lover.
She always said she had dreams of [Db] being a singer.
[Gbm]
[Dbm] I grew up [Eb] in Rio, [G] in Brazil, and [Ab] my first guitar was an island string guitar [Db] like every [A] Brazilian [Ab] musician.
But to be honest, [Dbm] I was a lot more interested in jazz.
[Ab] Narcos is a fascinating project, to be honest.
Not only the characters are obviously bigger than life, but they're all so complex.
[Gm]
[F] There are action moments and there are moments where everything's blasting,
but a couple of people told [Cm] me, wow, it's surprisingly melodic and mellow for what you'd expect for a [Dm] show like this.
And it does [A] have some noir elements, some [D] jazz elements that, to be honest, I wasn't even [A] thinking while I was [Eb] writing it.
Working on a 10 [Em]-episode series, you're just able to explore the characters a lot [F] more and to write.
[D] I mean, I don't think I've ever [Cm] done a more [E] thematic work than on Narcos.
[C] You can play around [F] with themes when you have a longer arc.
I think [G] when you have a two-hour feature, if you have too many themes or too many different musical [G] directions,
you can just confuse yourself and [Bb] confuse the audience ultimately.
And on a show not like Narcos, you [Gbm] can hint on a little theme from this [Ebm] character that just has a very [Gb] small part in episode one,
but maybe [B] he is the climax [Db] of episode six.
[Gb] And then you've already established that and you played [Ab] it throughout.
[Db] [Gb]
[Gb] [Ebm] The first piece I composed [Abm] ended up being one of [B] Escobar, because Escobar has a couple of themes.
[D] He's such a complex character.
And in the beginning, he's this, I mean, he's already this vicious [D] businessman,
but he is this guy who has hopes for Colombia, who wants to be president, who thinks he can help the poor.
I think that piece really managed to [G] get all of the emotions I was [D] thinking about.
After reading the first script, I think it's the first time something came [B] to me like that.
We were sitting on the porch and I [D] grabbed a drum roco, an instrument from [Ebm] South America with my wife.
She was having a beer and I started playing.
And that's, I mean, literally the [Abm] harmony that I came up with out [Gb] there ended up being the main theme for the way before I [Abm] saw any footage,
way before they were even shooting the show, I think.
And that ended up being the main thing that [F] goes with Escobar throughout the episodes.
[Bb]
This is a ronroco.
It's an [F] instrument from the north of [Fm] Argentina and [Bb] Bolivia, Peru.
So I was just [Ebm] playing around with this instrument and this sort [D] of harmony and melody,
this finger [Eb] picking came to me for the [G] Escobar idea.
And it [Eb] ended up actually being that.
[Ebm] [Bb]
[Bb] [F]
[Ebm] [F]
[Bb]
[Bbm]
Key:
D
Ebm
Bb
F
G
D
Ebm
Bb
_ _ _ _ _ _ _ _
_ _ _ [Bb] _ _ _ _ _
_ _ _ _ [B] _ Hi, my name is Pedro Bronfman.
I [Ebm] composed the score for Narcos. _ _ _
[D] _ I've been in [Eb] rock and roll, [Ebm] heavy metal bands.
I've played Brazilian music.
I [D] went to Argentina to study tango.
[Abm] I was a jazz _ -obsessed aficionado.
[Ebm] I studied a lot of jazz at Berkeley.
I played in [Abm] a lot of different formations.
Funny enough, I started [Ebm] writing a lot of library music and mostly [F] romantic comedy.
It was really through doing it that [Ab] I learned my chops in the [Abm] computer,
which now I [G] consider my number one instrument.
I [Bb] still play a lot and I play a lot of instruments,
but [Bm] I really make the magic once things are [D] inside the computer
and I can process things and twist things around and make things sound really different and interesting. _
On Narcos, we had [Dm] this talk that we wanted to use [D] Colombian instruments.
We wanted to have that sound, not necessarily playing [Ab] Colombian rhythms,
not necessarily playing cumbias and bajonatos and [G] bambucos,
[Ab] but [G] _ using those instruments in a more mainstream crime action suspense type of score. _ _ _ _
_ _ [Bb] _ _ _ _ _
I've always [Eb] been passionate about music.
My mom was a [Gb] big music lover.
She always said she had dreams of [Db] being a singer.
_ _ [Gbm] _ _
[Dbm] I grew up [Eb] in Rio, [G] in Brazil, and [Ab] my first guitar was an island string guitar [Db] like every [A] Brazilian [Ab] musician.
But to be honest, [Dbm] I was a lot more interested in jazz.
[Ab] Narcos is a fascinating project, to be honest.
Not only the characters are obviously bigger than life, but they're all so complex.
_ [Gm] _ _ _ _ _
_ _ _ [F] There are action moments and there are moments where everything's blasting,
but a _ couple of people told [Cm] me, wow, it's surprisingly melodic and mellow for what you'd expect for a [Dm] show like this.
And it does [A] have some noir elements, some [D] jazz elements that, to be honest, I wasn't even [A] thinking while I was [Eb] writing it.
Working on a 10 [Em]-episode series, you're just able to explore the characters a lot [F] more and to write.
[D] I mean, I don't think I've ever [Cm] done a more [E] thematic _ work than on Narcos.
[C] You can play around [F] with themes when you have a longer arc.
I think [G] when you have a two-hour feature, if you have too many themes or too many _ different musical [G] directions,
you can just confuse yourself and [Bb] confuse the audience ultimately.
And on a show not like Narcos, you [Gbm] can hint on a little theme from this [Ebm] character that just has a very [Gb] small part in episode one,
but maybe [B] he is the climax [Db] of episode six.
[Gb] And then you've already established that and you played [Ab] it throughout.
_ _ [Db] _ _ [Gb] _ _ _ _
_ _ _ [Gb] _ _ _ [Ebm] The first piece I composed [Abm] ended up being one of [B] Escobar, because Escobar has a couple of themes.
[D] He's such a complex character.
And in the beginning, he's this, I mean, he's already this vicious [D] businessman,
but he is this guy who has hopes for Colombia, who wants to be president, who thinks he can help the poor.
I think that piece really managed to _ [G] get all of the emotions I was [D] thinking about.
_ _ After reading the first script, I think it's the first time something came [B] to me like that.
We were sitting on the porch and I [D] grabbed a drum roco, an instrument from [Ebm] South America with my wife.
She was having a beer and I started playing.
And that's, I mean, literally the [Abm] harmony that I came up with out [Gb] there ended up being the main theme for the way before I [Abm] saw any footage,
way before they were even shooting the show, I think.
And that ended up being the main thing that [F] goes with Escobar throughout the episodes.
_ [Bb] _
This is a ronroco.
It's an [F] instrument from the north of [Fm] Argentina and [Bb] Bolivia, Peru.
So I was just [Ebm] playing around with this instrument and this sort [D] of harmony and melody,
this finger [Eb] picking came to me for the [G] Escobar idea.
And it [Eb] ended up actually being that.
_ _ [Ebm] _ _ [Bb] _ _ _ _ _ _ _ _
_ [Bb] _ _ [F] _ _ _ _ _
[Ebm] _ _ _ _ [F] _ _ _ _
_ _ _ [Bb] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Bbm] _ _ _ _
_ _ _ [Bb] _ _ _ _ _
_ _ _ _ [B] _ Hi, my name is Pedro Bronfman.
I [Ebm] composed the score for Narcos. _ _ _
[D] _ I've been in [Eb] rock and roll, [Ebm] heavy metal bands.
I've played Brazilian music.
I [D] went to Argentina to study tango.
[Abm] I was a jazz _ -obsessed aficionado.
[Ebm] I studied a lot of jazz at Berkeley.
I played in [Abm] a lot of different formations.
Funny enough, I started [Ebm] writing a lot of library music and mostly [F] romantic comedy.
It was really through doing it that [Ab] I learned my chops in the [Abm] computer,
which now I [G] consider my number one instrument.
I [Bb] still play a lot and I play a lot of instruments,
but [Bm] I really make the magic once things are [D] inside the computer
and I can process things and twist things around and make things sound really different and interesting. _
On Narcos, we had [Dm] this talk that we wanted to use [D] Colombian instruments.
We wanted to have that sound, not necessarily playing [Ab] Colombian rhythms,
not necessarily playing cumbias and bajonatos and [G] bambucos,
[Ab] but [G] _ using those instruments in a more mainstream crime action suspense type of score. _ _ _ _
_ _ [Bb] _ _ _ _ _
I've always [Eb] been passionate about music.
My mom was a [Gb] big music lover.
She always said she had dreams of [Db] being a singer.
_ _ [Gbm] _ _
[Dbm] I grew up [Eb] in Rio, [G] in Brazil, and [Ab] my first guitar was an island string guitar [Db] like every [A] Brazilian [Ab] musician.
But to be honest, [Dbm] I was a lot more interested in jazz.
[Ab] Narcos is a fascinating project, to be honest.
Not only the characters are obviously bigger than life, but they're all so complex.
_ [Gm] _ _ _ _ _
_ _ _ [F] There are action moments and there are moments where everything's blasting,
but a _ couple of people told [Cm] me, wow, it's surprisingly melodic and mellow for what you'd expect for a [Dm] show like this.
And it does [A] have some noir elements, some [D] jazz elements that, to be honest, I wasn't even [A] thinking while I was [Eb] writing it.
Working on a 10 [Em]-episode series, you're just able to explore the characters a lot [F] more and to write.
[D] I mean, I don't think I've ever [Cm] done a more [E] thematic _ work than on Narcos.
[C] You can play around [F] with themes when you have a longer arc.
I think [G] when you have a two-hour feature, if you have too many themes or too many _ different musical [G] directions,
you can just confuse yourself and [Bb] confuse the audience ultimately.
And on a show not like Narcos, you [Gbm] can hint on a little theme from this [Ebm] character that just has a very [Gb] small part in episode one,
but maybe [B] he is the climax [Db] of episode six.
[Gb] And then you've already established that and you played [Ab] it throughout.
_ _ [Db] _ _ [Gb] _ _ _ _
_ _ _ [Gb] _ _ _ [Ebm] The first piece I composed [Abm] ended up being one of [B] Escobar, because Escobar has a couple of themes.
[D] He's such a complex character.
And in the beginning, he's this, I mean, he's already this vicious [D] businessman,
but he is this guy who has hopes for Colombia, who wants to be president, who thinks he can help the poor.
I think that piece really managed to _ [G] get all of the emotions I was [D] thinking about.
_ _ After reading the first script, I think it's the first time something came [B] to me like that.
We were sitting on the porch and I [D] grabbed a drum roco, an instrument from [Ebm] South America with my wife.
She was having a beer and I started playing.
And that's, I mean, literally the [Abm] harmony that I came up with out [Gb] there ended up being the main theme for the way before I [Abm] saw any footage,
way before they were even shooting the show, I think.
And that ended up being the main thing that [F] goes with Escobar throughout the episodes.
_ [Bb] _
This is a ronroco.
It's an [F] instrument from the north of [Fm] Argentina and [Bb] Bolivia, Peru.
So I was just [Ebm] playing around with this instrument and this sort [D] of harmony and melody,
this finger [Eb] picking came to me for the [G] Escobar idea.
And it [Eb] ended up actually being that.
_ _ [Ebm] _ _ [Bb] _ _ _ _ _ _ _ _
_ [Bb] _ _ [F] _ _ _ _ _
[Ebm] _ _ _ _ [F] _ _ _ _
_ _ _ [Bb] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Bbm] _ _ _ _