Chords for Squarepusher interview on Artsnight: Ana Matronic (Series 2, Episode 20)
Tempo:
116.8 bpm
Chords used:
E
F#
G
D
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
It's great, thank you.
[N]
[F#] It's not just in the world of fine art that robots are flexing their [C] creative muscles.
It's happening in music, too.
[E] One of my favorite electronic musicians, Tom [G] Jenkinson, better [E] known as Squarepusher,
has been at the cutting edge of electronic music for 20 years.
Recently, he composed an album specially for a robot band created by a team [Dm] of engineers in Japan.
[E]
I've come to meet Tom in [C] his Essex studio to find out more about his [D] unusual collaboration.
[E] I would like to know first how your interest in this project came about.
I was approached by some Japanese roboticists and they wanted me to make a piece of music for their robot [C#] band to play.
I couldn't pass up that opportunity.
It's not the sort of thing that happens [B] every day.
[E] I just had to see what [G#m] that would be like.
The Z-Machines comprise a [F#]
22 [E]-armed drummer, a guitarist [F#] with 78 fingers,
[G#m] and a keyboardist that plays notes by [F#] shooting green [E] lasers from its eyes.
[C#] [F#]
[N] Sad Robot Goes Funny was the first piece that you composed for Z-Machines.
And you're composing for a 78-fingered guitarist.
One of the interesting things about it is it means that you could, for example,
make chords that have a much larger span than a normal human hand could achieve.
Also, the speed at which the notes can be played, I mean, you can play over 100 notes a second pretty quick.
I'm sure there's guitarists out there who claim they can do that.
But the thing is that they can do it and can do it consistently and doesn't get tired.
It just keeps going.
It generates a particular kind of sound that isn't possible with human hands.
I would imagine that composing for robots, you had a very specific place that you would want to go musically.
I wondered whether we could make robots perform music that would be, for a listener, emotionally involving.
[D] [G#]
[C] I personally [D] found it at points quite convincing.
Definitely.
[G] [F#m]
[G] I also [D] encountered a sense of disappointment among [B] some people that when you tell them it's a robot playing, [F#] it's like, oh, wow.
I thought it was like an incredible, like this guitar player who's got this unbelievable superhuman technique.
And then when you tell them it's a robot, it actually becomes, it's like, oh, so you cheated then.
I always think that music and performing live is such a human endeavor.
And so much to me lies into the idea of communication.
It seems to me that even if we bring robots in, we'll still need that organic and human connection.
But what's interesting, I think, is that we're already augmenting our human performance with machinery.
I mean, if you come to one of my shows, for better or for worse, that's what's going on.
[A#] [G]
[C#] [E] I mean, I'm playing [N] a guitar, going through any number of different processes.
There's other elements where there is no touch of human hand in it.
And the fascinating thing, I think, is I can be on the stage and yet the performance is done by the machine.
I'm just sitting, kind of babysitting the machine.
And that's in the world of electronic music.
And yet we can't let go of the human.
Because if you took that [E] supervisor away, no matter how superficial their job is, they're kind of pressing play.
You take that away, suddenly it's not music performance anymore.
[C#] [F#]
[G#m]
Thank you so much.
I look forward to hearing more from you and possibly some more collaborations with robots.
Yeah, let's do it.
I mean, I personally would like it.
I would like some robot backup dancers.
That's what I would like.
[E] I would like robot backup dancers.
Yeah.
[F#] [B] [N]
[N]
[F#] It's not just in the world of fine art that robots are flexing their [C] creative muscles.
It's happening in music, too.
[E] One of my favorite electronic musicians, Tom [G] Jenkinson, better [E] known as Squarepusher,
has been at the cutting edge of electronic music for 20 years.
Recently, he composed an album specially for a robot band created by a team [Dm] of engineers in Japan.
[E]
I've come to meet Tom in [C] his Essex studio to find out more about his [D] unusual collaboration.
[E] I would like to know first how your interest in this project came about.
I was approached by some Japanese roboticists and they wanted me to make a piece of music for their robot [C#] band to play.
I couldn't pass up that opportunity.
It's not the sort of thing that happens [B] every day.
[E] I just had to see what [G#m] that would be like.
The Z-Machines comprise a [F#]
22 [E]-armed drummer, a guitarist [F#] with 78 fingers,
[G#m] and a keyboardist that plays notes by [F#] shooting green [E] lasers from its eyes.
[C#] [F#]
[N] Sad Robot Goes Funny was the first piece that you composed for Z-Machines.
And you're composing for a 78-fingered guitarist.
One of the interesting things about it is it means that you could, for example,
make chords that have a much larger span than a normal human hand could achieve.
Also, the speed at which the notes can be played, I mean, you can play over 100 notes a second pretty quick.
I'm sure there's guitarists out there who claim they can do that.
But the thing is that they can do it and can do it consistently and doesn't get tired.
It just keeps going.
It generates a particular kind of sound that isn't possible with human hands.
I would imagine that composing for robots, you had a very specific place that you would want to go musically.
I wondered whether we could make robots perform music that would be, for a listener, emotionally involving.
[D] [G#]
[C] I personally [D] found it at points quite convincing.
Definitely.
[G] [F#m]
[G] I also [D] encountered a sense of disappointment among [B] some people that when you tell them it's a robot playing, [F#] it's like, oh, wow.
I thought it was like an incredible, like this guitar player who's got this unbelievable superhuman technique.
And then when you tell them it's a robot, it actually becomes, it's like, oh, so you cheated then.
I always think that music and performing live is such a human endeavor.
And so much to me lies into the idea of communication.
It seems to me that even if we bring robots in, we'll still need that organic and human connection.
But what's interesting, I think, is that we're already augmenting our human performance with machinery.
I mean, if you come to one of my shows, for better or for worse, that's what's going on.
[A#] [G]
[C#] [E] I mean, I'm playing [N] a guitar, going through any number of different processes.
There's other elements where there is no touch of human hand in it.
And the fascinating thing, I think, is I can be on the stage and yet the performance is done by the machine.
I'm just sitting, kind of babysitting the machine.
And that's in the world of electronic music.
And yet we can't let go of the human.
Because if you took that [E] supervisor away, no matter how superficial their job is, they're kind of pressing play.
You take that away, suddenly it's not music performance anymore.
[C#] [F#]
[G#m]
Thank you so much.
I look forward to hearing more from you and possibly some more collaborations with robots.
Yeah, let's do it.
I mean, I personally would like it.
I would like some robot backup dancers.
That's what I would like.
[E] I would like robot backup dancers.
Yeah.
[F#] [B] [N]
Key:
E
F#
G
D
C#
E
F#
G
It's great, thank you.
_ [N] _ _ _ _
_ _ [F#] _ _ _ It's not just in the world of fine art that robots are flexing their [C] creative muscles.
It's happening in music, too.
_ [E] One of my favorite electronic musicians, Tom [G] Jenkinson, better [E] known as Squarepusher,
has been at the cutting edge of electronic music for 20 years. _
Recently, he composed an album specially for a robot band created by a team [Dm] of engineers in Japan. _ _ _
[E] _ _ _ _ _ _ _ _
I've come to meet Tom in [C] his Essex studio to find out more about his [D] unusual collaboration.
[E] _ I would like to know first how your interest in this project came about.
I was approached by some Japanese _ roboticists and they wanted me to make a piece of music for their robot [C#] band to play.
I couldn't pass up that opportunity.
It's not the sort of thing that happens [B] every day.
_ [E] I just had to see what [G#m] that would be like.
_ The Z-Machines comprise a [F#]
22 [E]-armed drummer, a guitarist [F#] with 78 fingers,
[G#m] and a keyboardist that plays notes by [F#] shooting green [E] lasers from its eyes.
_ [C#] _ [F#] _ _
[N] Sad Robot Goes Funny was the first piece that you composed for Z-Machines.
And you're composing for a 78-fingered guitarist.
One of the interesting things about it is it means that you could, for example,
make chords that have a much larger span than a normal human hand could achieve.
Also, the speed at which the notes can be played, I mean, you can play over 100 notes a second pretty quick. _
I'm sure there's guitarists out there who claim they can do that.
But the thing is that they can do it and can do it consistently and doesn't get tired.
It just keeps going.
It generates a particular kind of sound that isn't possible with human hands.
_ _ I would imagine that composing for robots, you had a very specific place that you would want to go musically.
I wondered whether we could make robots perform music that would be, for a listener, emotionally involving.
_ [D] _ _ [G#] _
_ _ [C] _ _ _ I personally [D] found it at points quite _ convincing. _
Definitely.
[G] _ _ _ _ [F#m] _ _ _
_ _ [G] I also [D] encountered a sense of disappointment among [B] some people that when you tell them it's a robot playing, [F#] it's like, oh, wow.
I thought it was like an incredible, like this guitar player who's got this unbelievable _ _ superhuman technique.
And then when you tell them it's a robot, it actually becomes, _ it's like, oh, so you cheated then.
I always think that music and performing live is such a human _ endeavor.
And so much to me lies into the idea of communication.
It seems to me that even if we bring robots in, we'll still need that organic and human connection.
But what's interesting, I think, is that we're already augmenting our human performance with machinery.
I mean, if you come to one of my shows, for better or for worse, that's what's going on.
_ [A#] _ _ _ [G] _ _ _
_ [C#] _ [E] I mean, I'm playing [N] a guitar, going through any number of different processes.
There's other elements where there is no touch of human hand in it.
And the fascinating thing, I think, is I can be on the stage and yet the performance is done by the machine.
I'm just sitting, kind of babysitting the machine.
And that's in the world of electronic music.
And yet we can't let go of the human.
Because if you took that [E] supervisor away, no matter how superficial their job is, they're kind of pressing play.
You take that away, suddenly it's not music performance anymore.
_ [C#] _ _ [F#] _ _
_ [G#m] _ _ _ _ _ _
Thank you so much.
I look forward to hearing more from you and possibly some more collaborations with robots.
Yeah, let's do it.
I mean, I personally would like it.
I would like some robot backup dancers.
That's what I would like.
[E] I would like robot backup dancers.
Yeah.
_ [F#] _ _ _ _ _ [B] _ _ _ _ _ _ _ _ [N] _
_ [N] _ _ _ _
_ _ [F#] _ _ _ It's not just in the world of fine art that robots are flexing their [C] creative muscles.
It's happening in music, too.
_ [E] One of my favorite electronic musicians, Tom [G] Jenkinson, better [E] known as Squarepusher,
has been at the cutting edge of electronic music for 20 years. _
Recently, he composed an album specially for a robot band created by a team [Dm] of engineers in Japan. _ _ _
[E] _ _ _ _ _ _ _ _
I've come to meet Tom in [C] his Essex studio to find out more about his [D] unusual collaboration.
[E] _ I would like to know first how your interest in this project came about.
I was approached by some Japanese _ roboticists and they wanted me to make a piece of music for their robot [C#] band to play.
I couldn't pass up that opportunity.
It's not the sort of thing that happens [B] every day.
_ [E] I just had to see what [G#m] that would be like.
_ The Z-Machines comprise a [F#]
22 [E]-armed drummer, a guitarist [F#] with 78 fingers,
[G#m] and a keyboardist that plays notes by [F#] shooting green [E] lasers from its eyes.
_ [C#] _ [F#] _ _
[N] Sad Robot Goes Funny was the first piece that you composed for Z-Machines.
And you're composing for a 78-fingered guitarist.
One of the interesting things about it is it means that you could, for example,
make chords that have a much larger span than a normal human hand could achieve.
Also, the speed at which the notes can be played, I mean, you can play over 100 notes a second pretty quick. _
I'm sure there's guitarists out there who claim they can do that.
But the thing is that they can do it and can do it consistently and doesn't get tired.
It just keeps going.
It generates a particular kind of sound that isn't possible with human hands.
_ _ I would imagine that composing for robots, you had a very specific place that you would want to go musically.
I wondered whether we could make robots perform music that would be, for a listener, emotionally involving.
_ [D] _ _ [G#] _
_ _ [C] _ _ _ I personally [D] found it at points quite _ convincing. _
Definitely.
[G] _ _ _ _ [F#m] _ _ _
_ _ [G] I also [D] encountered a sense of disappointment among [B] some people that when you tell them it's a robot playing, [F#] it's like, oh, wow.
I thought it was like an incredible, like this guitar player who's got this unbelievable _ _ superhuman technique.
And then when you tell them it's a robot, it actually becomes, _ it's like, oh, so you cheated then.
I always think that music and performing live is such a human _ endeavor.
And so much to me lies into the idea of communication.
It seems to me that even if we bring robots in, we'll still need that organic and human connection.
But what's interesting, I think, is that we're already augmenting our human performance with machinery.
I mean, if you come to one of my shows, for better or for worse, that's what's going on.
_ [A#] _ _ _ [G] _ _ _
_ [C#] _ [E] I mean, I'm playing [N] a guitar, going through any number of different processes.
There's other elements where there is no touch of human hand in it.
And the fascinating thing, I think, is I can be on the stage and yet the performance is done by the machine.
I'm just sitting, kind of babysitting the machine.
And that's in the world of electronic music.
And yet we can't let go of the human.
Because if you took that [E] supervisor away, no matter how superficial their job is, they're kind of pressing play.
You take that away, suddenly it's not music performance anymore.
_ [C#] _ _ [F#] _ _
_ [G#m] _ _ _ _ _ _
Thank you so much.
I look forward to hearing more from you and possibly some more collaborations with robots.
Yeah, let's do it.
I mean, I personally would like it.
I would like some robot backup dancers.
That's what I would like.
[E] I would like robot backup dancers.
Yeah.
_ [F#] _ _ _ _ _ [B] _ _ _ _ _ _ _ _ [N] _