Chords for Perlman talks about Heifetz and demonstrates a bit...
Tempo:
116.75 bpm
Chords used:
G
D
Gm
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] [Eb] [Am]
[D] [Gm] [C] [G]
Heifetz [Gm] is considered by many to be, [G] myself [Gm] included, to be [A] one of the great, [C] if not the
greatest violinist that [G] ever was.
I believe [F] he certainly is the [Gm] father of [C] [G] modern violin
playing.
[Gm] [Eb] He has [C] brought it [Gm] to such a height that all of us [C] mortals [E] are
[Cm] [C] still looking [G] up
at what he has done.
[Bb] Again, [Eb] like [Gm] Sarasate, like Kreisler,
[D] he did an awful lot of [F]
[Cm] arranging,
[Gm] transcribing [F] [Bb] of pieces that he [E] used in his concerts.
[A] He has transcribed [Eb] it, meaning that
he is actually, [D] it's not exactly the original harmonies and so on that the composers, he
just gave them his own flavor, his own harmonic flavor [E] that you can hear.
[Em]
[D] He did I Dream of
Jeannie, and again, it has that, it's all in the [A] piano part.
[E]
[Dbm] Sometimes [Bm] he would [B] play
some double stops, he would put double [D] stops so that the melody would not just be a [A] simple
melody, but that it would have flavor [B] of what he [D] heard.
You know, double stops is sort of
[Ab] the difference between listen to one voice, you know,
[E] [G]
[Ab] that's one voice, yes, and double
stops, you [G] know,
[C] [G] [B] which is just another note added [Ab] underneath [D] the
[Ebm] main [G] line.
You can actually
feel [Bb]
what [A] he felt in his hand by [Bm] the way he wrote it, because whenever he wrote [Gbm] something,
he wrote it so that it would [Em] suit his hand.
[D] Now, Heifetz's [G] hand, for me, was the [E] perfect
violin hand, not too big, [D] not too small, just perfect.
That's the way he found it.
[D] [Gm] [C] [G]
Heifetz [Gm] is considered by many to be, [G] myself [Gm] included, to be [A] one of the great, [C] if not the
greatest violinist that [G] ever was.
I believe [F] he certainly is the [Gm] father of [C] [G] modern violin
playing.
[Gm] [Eb] He has [C] brought it [Gm] to such a height that all of us [C] mortals [E] are
[Cm] [C] still looking [G] up
at what he has done.
[Bb] Again, [Eb] like [Gm] Sarasate, like Kreisler,
[D] he did an awful lot of [F]
[Cm] arranging,
[Gm] transcribing [F] [Bb] of pieces that he [E] used in his concerts.
[A] He has transcribed [Eb] it, meaning that
he is actually, [D] it's not exactly the original harmonies and so on that the composers, he
just gave them his own flavor, his own harmonic flavor [E] that you can hear.
[Em]
[D] He did I Dream of
Jeannie, and again, it has that, it's all in the [A] piano part.
[E]
[Dbm] Sometimes [Bm] he would [B] play
some double stops, he would put double [D] stops so that the melody would not just be a [A] simple
melody, but that it would have flavor [B] of what he [D] heard.
You know, double stops is sort of
[Ab] the difference between listen to one voice, you know,
[E] [G]
[Ab] that's one voice, yes, and double
stops, you [G] know,
[C] [G] [B] which is just another note added [Ab] underneath [D] the
[Ebm] main [G] line.
You can actually
feel [Bb]
what [A] he felt in his hand by [Bm] the way he wrote it, because whenever he wrote [Gbm] something,
he wrote it so that it would [Em] suit his hand.
[D] Now, Heifetz's [G] hand, for me, was the [E] perfect
violin hand, not too big, [D] not too small, just perfect.
That's the way he found it.
Key:
G
D
Gm
C
E
G
D
Gm
_ _ [Am] _ _ [Eb] _ _ [Am] _ _
[D] _ _ [Gm] _ _ [C] _ _ [G] _ _
Heifetz [Gm] _ is considered by many to be, [G] myself [Gm] included, to be [A] one of the great, [C] if not the
greatest violinist that [G] ever was.
I believe [F] he certainly is the [Gm] father of [C] _ _ [G] modern violin
playing.
[Gm] _ _ _ [Eb] _ He has [C] brought it [Gm] to such a height that _ _ all of us [C] mortals [E] are _ _
[Cm] _ _ _ [C] still looking [G] up
at what he has done.
[Bb] _ Again, _ [Eb] like _ [Gm] Sarasate, like Kreisler, _
[D] he did an awful lot of [F] _
[Cm] arranging,
[Gm] transcribing _ _ [F] _ [Bb] of pieces that he [E] used in his concerts.
[A] He has transcribed [Eb] it, meaning that
he is actually, [D] it's not exactly the original harmonies and so on that the composers, he
just gave them his own flavor, his own harmonic flavor [E] that you can hear.
_ _ [Em] _ _
[D] He did _ I Dream of
Jeannie, and again, it has that, it's all in the [A] piano part.
[E] _
_ _ [Dbm] Sometimes [Bm] he would [B] play
some double stops, he would put double [D] stops so that the melody would not just be a [A] simple
melody, but that it would have flavor [B] of what he [D] heard.
You know, double stops is sort of
[Ab] the difference between listen to one voice, _ you know, _ _
[E] _ _ _ _ [G] _ _ _ _
_ [Ab] that's one voice, yes, and double
stops, you [G] know, _
_ _ _ [C] _ _ [G] _ [B] which is just another note added _ [Ab] underneath [D] the _
[Ebm] _ main [G] line.
You can actually
feel [Bb]
what [A] he felt in his hand by [Bm] the way he wrote it, because whenever he wrote [Gbm] something,
he wrote it so that it would [Em] suit his hand.
[D] Now, Heifetz's [G] hand, for me, was the [E] perfect
violin hand, not too big, [D] not too small, just perfect.
That's the way he found it.
[D] _ _ [Gm] _ _ [C] _ _ [G] _ _
Heifetz [Gm] _ is considered by many to be, [G] myself [Gm] included, to be [A] one of the great, [C] if not the
greatest violinist that [G] ever was.
I believe [F] he certainly is the [Gm] father of [C] _ _ [G] modern violin
playing.
[Gm] _ _ _ [Eb] _ He has [C] brought it [Gm] to such a height that _ _ all of us [C] mortals [E] are _ _
[Cm] _ _ _ [C] still looking [G] up
at what he has done.
[Bb] _ Again, _ [Eb] like _ [Gm] Sarasate, like Kreisler, _
[D] he did an awful lot of [F] _
[Cm] arranging,
[Gm] transcribing _ _ [F] _ [Bb] of pieces that he [E] used in his concerts.
[A] He has transcribed [Eb] it, meaning that
he is actually, [D] it's not exactly the original harmonies and so on that the composers, he
just gave them his own flavor, his own harmonic flavor [E] that you can hear.
_ _ [Em] _ _
[D] He did _ I Dream of
Jeannie, and again, it has that, it's all in the [A] piano part.
[E] _
_ _ [Dbm] Sometimes [Bm] he would [B] play
some double stops, he would put double [D] stops so that the melody would not just be a [A] simple
melody, but that it would have flavor [B] of what he [D] heard.
You know, double stops is sort of
[Ab] the difference between listen to one voice, _ you know, _ _
[E] _ _ _ _ [G] _ _ _ _
_ [Ab] that's one voice, yes, and double
stops, you [G] know, _
_ _ _ [C] _ _ [G] _ [B] which is just another note added _ [Ab] underneath [D] the _
[Ebm] _ main [G] line.
You can actually
feel [Bb]
what [A] he felt in his hand by [Bm] the way he wrote it, because whenever he wrote [Gbm] something,
he wrote it so that it would [Em] suit his hand.
[D] Now, Heifetz's [G] hand, for me, was the [E] perfect
violin hand, not too big, [D] not too small, just perfect.
That's the way he found it.