Chords for The Lee Shore - Guitar Lesson Preview
Tempo:
114.9 bpm
Chords used:
E
Bm
G
B
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] [Bm] [G]
[Bm] [Em] [E]
[E] [Am]
[Bm] [Em]
[E]
[Bm]
[E] This is a haunting [N] song, David Crosby, of course, the Lee Shore.
And like many of Crosby's tunes, there are only a few different chord shapes going on,
but some very distinctive picking that happens in this song.
And people have been asking me to do this for years, finally got around to it, or finally
am getting around to it.
By the time you swell, anyway, you get the idea.
He played it a lot of different ways, or with a lot of variations, so he was never too specific
about making sure it went one way or another.
He had a basic chord progression, a basic picking pattern, and as many different versions
evolved over the years, it sometimes changed a little bit, depending on what he just wanted
to try to do.
Sometimes he'd try to get [G] this hammer on in here, and it was usually pretty sloppy.
Sometimes he'd flatten his finger out [N] and get all kinds of noise.
Anyway, we're going to go a little bit into that, but I'm going to kind of present this
lesson in a maybe progressive way.
I'll start off just playing it for you, telling you a little bit about the chords, playing
it slowly, [B] and let you try to figure out the picking pattern.
And then with each segment, there's only going to be a couple, I will give you more information,
and if you want to look at the tablature and just play exactly the way it's going to come
out, the finished version, you're welcome to do that as well.
Now most of us first heard [N] this on this album, 1970s summer tour, Four Way Street, that was
actually the first concert I went to in my life.
[B] I was 14 years old, it was these guys at the Oakland [E] Coliseum, and I was blown away.
Luckily I [G] still have a tape of that, you know, don't tell anybody about this.
But anyhow, this came out later that, [Abm] at the end of the [A] summer, quite a bit later actually,
as they were heading [Ab] their own way, and had solo [N] songs by everybody, Triad was on here
by Crosby, and then Neil Young, of course, did Don't Let It Bring You Down, and Cowgirl
in the Sand, and Nash played a couple of his tunes, still played 49 Bye-Byes and a
few other things.
And then they had the Rocket Out tunes.
So this is the main version that we're kind of using this from.
But Crosby and Nash, for quite a few years, did tours on their own.
Now this is one of my really prized items.
The album is called A Very Stony Evening from 1971, and back in these days, I think I've
shown you this album before, but maybe not in a while, this is how many of these records
looked back then.
They came out on, well, kind of unmarked, different colored vinyl.
Got some yellow ones, some orange ones, some joney, well, anyway.
So the popularity of this particular album made the record company eventually release
a real one from the night, or a legit one from the next night, I believe it was the
next night, it was not, but you can definitely hear differences in the performances, called
Another Stony Evening.
So that one is very readily available.
I encourage you to check it out, because that includes a version of the Leashore as well.
And while I'm going through my archives here, another album that I was really shocked to
find out was one of the other most memorable records of my life, was in 1974, when Crosby,
Stills, Nash, and Young kind of reunited, and they put out, well, they hadn't played
in three years, they even said during the show that we waited three years for this.
And the supporting acts at the time were the band, Joe Walsh and Jesse Collin Young.
And this was in Oakland at the Oakland Coliseum in, I believe, 1974.
It says July 13th there, so you could easily check the calendar, but I'm pretty sure it was 74.
I didn't bother to check.
[B] Anyway, [C] and [N] this turned into a whole series of concerts at Oakland for many years called
Day on the Green, where they would have shows, because this must have started at like 2 o'clock
in the afternoon and probably wrapped up around midnight.
I don't remember.
I was pretty [Bm] tired by the time it was over.
[N] The Crosby and Nash shows, there are plenty of them available on YouTube.
I really encourage you to check them out.
And many of them, they typically were hilarious.
Now, part of it was just because of the general state, probably everybody's state at the [Bm] time.
[B] But they were really [C] entertaining, and the [Db]
harmonies that the two of them could [A] come
up with were just dazzling.
[Bm] So they could fill the room.
And when they sing the line in this one about from here to Venezuela, just the [Db] swell that
happens is spine tingling, I think.
So anyway, [Gb] okay, enough of the [B] background on the song.
[Gb] In the next segment, I will show you some of the chords and a little bit more about the picking.
[N] It's a normal, it's mostly normal alternating bass picking, but there's one major twist on it.
We'll talk about that, and you may have already figured out what it is.
As I play through the next part, I guess I'll tell you this in the next part, but as I play
through it, the idea when you're trying to figure out something that's going on in finger
picking is to listen to the bass independently.
See if you can separate the bass notes and hear when they happen and which notes they
are, and then worry about the melody notes separately, too.
So you have to be able to list two, dissect it into two separate parts, and that's the
key with figuring out anything that has a finger picking accompaniment involved.
Okay, enough about the background on the Leashore and my personal experience with it, and on
to the lesson.
Well, as a starting point for this, I'm going to play through it through each of the parts,
although we'll talk about the intro separately.
I'm going to get to that later, maybe.
The pre-intro is what [G] I'll really be talking about this time.
[E]
[Am] [E] What I want to [C] get to is the chord progression of, again, [N] only a couple of chords.
So first I'm going to play through a verse.
I'm going to start with an intro or the interlude that happens between verses, and I'm going
to play it kind of at real speed.
So what we have in, and maybe [G] between what you can see and what you can hear, [N] might be
able to pick up some of this.
So the intro, what we have is basically two chords going [G] back and forth, although on the
four-way street version he only plays one chord, but then in between [E] verses he starts changing.
[Bm]
[E] [Bm] After four of these, the verse would start.
[C]
Hopefully you've [Bb] got some clues about this and what's [G] going on with the picking.
Crosby uses really just two fingers [Bb] on the second and third strings, and then the thumb
[Eb] plays three different bass strings in the bass, depending on what chord he's playing.
Sometimes it would only play two.
But the key to the picking [Fm] in this song is that [E] it's this.
[B] [C]
[A]
[Bm] [Em] [E]
[E] [Am]
[Bm] [Em]
[E]
[Bm]
[E] This is a haunting [N] song, David Crosby, of course, the Lee Shore.
And like many of Crosby's tunes, there are only a few different chord shapes going on,
but some very distinctive picking that happens in this song.
And people have been asking me to do this for years, finally got around to it, or finally
am getting around to it.
By the time you swell, anyway, you get the idea.
He played it a lot of different ways, or with a lot of variations, so he was never too specific
about making sure it went one way or another.
He had a basic chord progression, a basic picking pattern, and as many different versions
evolved over the years, it sometimes changed a little bit, depending on what he just wanted
to try to do.
Sometimes he'd try to get [G] this hammer on in here, and it was usually pretty sloppy.
Sometimes he'd flatten his finger out [N] and get all kinds of noise.
Anyway, we're going to go a little bit into that, but I'm going to kind of present this
lesson in a maybe progressive way.
I'll start off just playing it for you, telling you a little bit about the chords, playing
it slowly, [B] and let you try to figure out the picking pattern.
And then with each segment, there's only going to be a couple, I will give you more information,
and if you want to look at the tablature and just play exactly the way it's going to come
out, the finished version, you're welcome to do that as well.
Now most of us first heard [N] this on this album, 1970s summer tour, Four Way Street, that was
actually the first concert I went to in my life.
[B] I was 14 years old, it was these guys at the Oakland [E] Coliseum, and I was blown away.
Luckily I [G] still have a tape of that, you know, don't tell anybody about this.
But anyhow, this came out later that, [Abm] at the end of the [A] summer, quite a bit later actually,
as they were heading [Ab] their own way, and had solo [N] songs by everybody, Triad was on here
by Crosby, and then Neil Young, of course, did Don't Let It Bring You Down, and Cowgirl
in the Sand, and Nash played a couple of his tunes, still played 49 Bye-Byes and a
few other things.
And then they had the Rocket Out tunes.
So this is the main version that we're kind of using this from.
But Crosby and Nash, for quite a few years, did tours on their own.
Now this is one of my really prized items.
The album is called A Very Stony Evening from 1971, and back in these days, I think I've
shown you this album before, but maybe not in a while, this is how many of these records
looked back then.
They came out on, well, kind of unmarked, different colored vinyl.
Got some yellow ones, some orange ones, some joney, well, anyway.
So the popularity of this particular album made the record company eventually release
a real one from the night, or a legit one from the next night, I believe it was the
next night, it was not, but you can definitely hear differences in the performances, called
Another Stony Evening.
So that one is very readily available.
I encourage you to check it out, because that includes a version of the Leashore as well.
And while I'm going through my archives here, another album that I was really shocked to
find out was one of the other most memorable records of my life, was in 1974, when Crosby,
Stills, Nash, and Young kind of reunited, and they put out, well, they hadn't played
in three years, they even said during the show that we waited three years for this.
And the supporting acts at the time were the band, Joe Walsh and Jesse Collin Young.
And this was in Oakland at the Oakland Coliseum in, I believe, 1974.
It says July 13th there, so you could easily check the calendar, but I'm pretty sure it was 74.
I didn't bother to check.
[B] Anyway, [C] and [N] this turned into a whole series of concerts at Oakland for many years called
Day on the Green, where they would have shows, because this must have started at like 2 o'clock
in the afternoon and probably wrapped up around midnight.
I don't remember.
I was pretty [Bm] tired by the time it was over.
[N] The Crosby and Nash shows, there are plenty of them available on YouTube.
I really encourage you to check them out.
And many of them, they typically were hilarious.
Now, part of it was just because of the general state, probably everybody's state at the [Bm] time.
[B] But they were really [C] entertaining, and the [Db]
harmonies that the two of them could [A] come
up with were just dazzling.
[Bm] So they could fill the room.
And when they sing the line in this one about from here to Venezuela, just the [Db] swell that
happens is spine tingling, I think.
So anyway, [Gb] okay, enough of the [B] background on the song.
[Gb] In the next segment, I will show you some of the chords and a little bit more about the picking.
[N] It's a normal, it's mostly normal alternating bass picking, but there's one major twist on it.
We'll talk about that, and you may have already figured out what it is.
As I play through the next part, I guess I'll tell you this in the next part, but as I play
through it, the idea when you're trying to figure out something that's going on in finger
picking is to listen to the bass independently.
See if you can separate the bass notes and hear when they happen and which notes they
are, and then worry about the melody notes separately, too.
So you have to be able to list two, dissect it into two separate parts, and that's the
key with figuring out anything that has a finger picking accompaniment involved.
Okay, enough about the background on the Leashore and my personal experience with it, and on
to the lesson.
Well, as a starting point for this, I'm going to play through it through each of the parts,
although we'll talk about the intro separately.
I'm going to get to that later, maybe.
The pre-intro is what [G] I'll really be talking about this time.
[E]
[Am] [E] What I want to [C] get to is the chord progression of, again, [N] only a couple of chords.
So first I'm going to play through a verse.
I'm going to start with an intro or the interlude that happens between verses, and I'm going
to play it kind of at real speed.
So what we have in, and maybe [G] between what you can see and what you can hear, [N] might be
able to pick up some of this.
So the intro, what we have is basically two chords going [G] back and forth, although on the
four-way street version he only plays one chord, but then in between [E] verses he starts changing.
[Bm]
[E] [Bm] After four of these, the verse would start.
[C]
Hopefully you've [Bb] got some clues about this and what's [G] going on with the picking.
Crosby uses really just two fingers [Bb] on the second and third strings, and then the thumb
[Eb] plays three different bass strings in the bass, depending on what chord he's playing.
Sometimes it would only play two.
But the key to the picking [Fm] in this song is that [E] it's this.
[B] [C]
[A]
Key:
E
Bm
G
B
C
E
Bm
G
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Em] _ _ [Bm] _ _ _ _ [G] _
_ _ [Bm] _ _ _ [Em] _ _ [E] _
_ _ _ [E] _ _ _ [Am] _ _
_ _ [Bm] _ _ _ [Em] _ _ _
_ _ _ _ _ _ [E] _ _
_ [Bm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [E] _ _ _ _ This is a haunting [N] song, David Crosby, of course, the Lee Shore.
And like many of Crosby's tunes, there are only a few different chord shapes going on,
but some very distinctive picking that happens in this song.
And people have been asking me to do this for years, finally got around to it, or finally
am getting around to it.
By the time you swell, anyway, you get the idea.
He played it a lot of different ways, or with a lot of variations, so he was never too _ _ specific
about making sure it went one way or another.
He had a basic chord progression, a basic picking pattern, and as many different versions
evolved over the years, it sometimes changed a little bit, depending on what he just wanted
to try to do.
Sometimes he'd try to get [G] this hammer on in here, _ _ _ and it was usually pretty sloppy.
Sometimes he'd flatten his finger out _ [N] _ and get all kinds of noise.
Anyway, we're going to go a little bit into that, but I'm going to kind of present this
lesson in a maybe progressive way.
I'll start off just playing it for you, telling you a little bit about the chords, playing
it slowly, [B] and let you try to figure out the picking pattern.
And then with each segment, there's only going to be a couple, I will give you more information,
and if you want to look at the tablature and just play exactly the way it's going to come
out, the finished version, you're welcome to do that as well.
Now most of us first heard [N] this on this album, _ _ 1970s summer tour, Four Way Street, that was
actually the first concert I went to in my life.
[B] I was 14 years old, it was these guys at the Oakland [E] Coliseum, and I was blown away.
Luckily I [G] still have a tape of that, you know, don't tell anybody about this.
But anyhow, this came out later that, [Abm] at the end of the [A] summer, quite a bit later actually,
as they were heading [Ab] their own way, and had solo [N] songs by everybody, Triad was on here
by Crosby, and then Neil Young, of course, did Don't Let It Bring You Down, and Cowgirl
in the Sand, and Nash played a couple of his tunes, still played 49 Bye-Byes and a
few other things.
And then they had the Rocket Out tunes.
So this is the main version that we're kind of using this from.
But Crosby and Nash, for quite a few years, did tours on their own.
Now this is one of my really prized items.
The album is called A Very Stony Evening from 1971, and back in these days, _ I think I've
shown you this album before, but maybe not in a while, this is how many of these records
looked back then.
They came out on, well, kind of unmarked, different colored vinyl.
Got some yellow ones, some orange ones, some joney, well, anyway.
So the popularity of this particular album made the record company eventually release
a real one from the night, or a legit one from the next night, I believe it was the
next night, it was not, but you can definitely hear differences in the performances, _ called
Another Stony Evening.
So that one is very readily available.
I encourage you to check it out, because that includes a version of the Leashore as well.
And while I'm going through my _ archives here, another album that I was really shocked to
find out was one of the other most memorable records of my life, was in 1974, when Crosby,
Stills, Nash, and Young kind of reunited, and they put out, well, they hadn't played
in three years, they even said during the show that we waited three years for this.
And the supporting acts at the time were the band, Joe Walsh and Jesse Collin Young.
And this was in Oakland at the Oakland Coliseum in, I believe, 1974.
It says July 13th there, so you could easily check the calendar, but I'm pretty sure it was 74.
I didn't bother to check.
[B] Anyway, [C] _ and _ [N] _ _ _ this turned into a whole series of concerts at Oakland for many years called
Day on the Green, where they would have shows, because this must have started at like 2 o'clock
in the afternoon and probably wrapped up around midnight.
I don't remember.
I was pretty [Bm] tired by the time it was over. _ _
_ [N] The Crosby and Nash shows, there are plenty of them available on YouTube.
I really encourage you to check them out.
And many of them, they typically were hilarious.
Now, part of it was just because of the general state, probably everybody's state at the [Bm] time.
[B] But they were really [C] entertaining, and the [Db]
harmonies that the two of them could [A] come
up with were just _ dazzling.
[Bm] So they could fill the room.
And when they sing the line in this one about from here to Venezuela, just the [Db] swell that
happens is spine tingling, I think.
So anyway, [Gb] okay, enough of the [B] background on the song.
[Gb] In the next segment, I will show you some of the chords and a little bit more about the picking.
[N] It's a normal, it's mostly normal alternating bass picking, but there's one major twist on it.
We'll talk about that, and you may have already figured out what it is.
As I play through the next part, _ I guess I'll tell you this in the next part, but as I play
through it, the idea when you're trying to figure out something that's going on in finger
picking is to listen to the bass independently.
See if you can separate the bass notes and hear when they happen and which notes they
are, and then worry about the melody notes separately, too.
So you have to be able to list two, dissect it into two separate parts, and that's the
key with figuring out anything that has a finger picking accompaniment involved.
_ _ Okay, enough about the background on the Leashore and my personal experience with it, and on
to the lesson. _ _ _ _ _
_ _ Well, as a starting point for this, I'm going to play through it through each of the parts,
although we'll talk about the intro separately.
I'm going to get to that later, maybe.
The pre-intro is what [G] I'll really be talking about this time.
_ [E] _
_ _ [Am] _ [E] _ _ What I want to [C] get to is the chord progression of, again, [N] only a couple of chords.
So first I'm going to play through a verse.
_ I'm going to start with an intro or the interlude that happens between verses, and I'm going
to play it kind of at real speed.
So what we have in, and maybe [G] between what you can see and what you can hear, [N] might be
able to pick up some of this.
So the intro, what we have is basically two chords going [G] back and forth, although on the
four-way street version he only plays one chord, but then in between [E] verses he starts changing.
_ [Bm] _ _ _ _ _
_ _ [E] _ [Bm] After four of these, _ _ _ _ _ _ the verse would start.
_ _ _ _ [C] _ _ _ _
_ _ _ _ _ _ _
Hopefully you've [Bb] got some clues about this and what's [G] going on with the picking.
Crosby uses really just two fingers [Bb] on the second and third strings, and then the thumb
[Eb] plays three different bass strings in the bass, depending on what chord he's playing.
Sometimes it would only play two.
But the key to the picking [Fm] in this song is that [E] it's this.
_ [B] _ _ _ _ _ _ _ _ _ [C] _ _ _
_ _ [A] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Em] _ _ [Bm] _ _ _ _ [G] _
_ _ [Bm] _ _ _ [Em] _ _ [E] _
_ _ _ [E] _ _ _ [Am] _ _
_ _ [Bm] _ _ _ [Em] _ _ _
_ _ _ _ _ _ [E] _ _
_ [Bm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [E] _ _ _ _ This is a haunting [N] song, David Crosby, of course, the Lee Shore.
And like many of Crosby's tunes, there are only a few different chord shapes going on,
but some very distinctive picking that happens in this song.
And people have been asking me to do this for years, finally got around to it, or finally
am getting around to it.
By the time you swell, anyway, you get the idea.
He played it a lot of different ways, or with a lot of variations, so he was never too _ _ specific
about making sure it went one way or another.
He had a basic chord progression, a basic picking pattern, and as many different versions
evolved over the years, it sometimes changed a little bit, depending on what he just wanted
to try to do.
Sometimes he'd try to get [G] this hammer on in here, _ _ _ and it was usually pretty sloppy.
Sometimes he'd flatten his finger out _ [N] _ and get all kinds of noise.
Anyway, we're going to go a little bit into that, but I'm going to kind of present this
lesson in a maybe progressive way.
I'll start off just playing it for you, telling you a little bit about the chords, playing
it slowly, [B] and let you try to figure out the picking pattern.
And then with each segment, there's only going to be a couple, I will give you more information,
and if you want to look at the tablature and just play exactly the way it's going to come
out, the finished version, you're welcome to do that as well.
Now most of us first heard [N] this on this album, _ _ 1970s summer tour, Four Way Street, that was
actually the first concert I went to in my life.
[B] I was 14 years old, it was these guys at the Oakland [E] Coliseum, and I was blown away.
Luckily I [G] still have a tape of that, you know, don't tell anybody about this.
But anyhow, this came out later that, [Abm] at the end of the [A] summer, quite a bit later actually,
as they were heading [Ab] their own way, and had solo [N] songs by everybody, Triad was on here
by Crosby, and then Neil Young, of course, did Don't Let It Bring You Down, and Cowgirl
in the Sand, and Nash played a couple of his tunes, still played 49 Bye-Byes and a
few other things.
And then they had the Rocket Out tunes.
So this is the main version that we're kind of using this from.
But Crosby and Nash, for quite a few years, did tours on their own.
Now this is one of my really prized items.
The album is called A Very Stony Evening from 1971, and back in these days, _ I think I've
shown you this album before, but maybe not in a while, this is how many of these records
looked back then.
They came out on, well, kind of unmarked, different colored vinyl.
Got some yellow ones, some orange ones, some joney, well, anyway.
So the popularity of this particular album made the record company eventually release
a real one from the night, or a legit one from the next night, I believe it was the
next night, it was not, but you can definitely hear differences in the performances, _ called
Another Stony Evening.
So that one is very readily available.
I encourage you to check it out, because that includes a version of the Leashore as well.
And while I'm going through my _ archives here, another album that I was really shocked to
find out was one of the other most memorable records of my life, was in 1974, when Crosby,
Stills, Nash, and Young kind of reunited, and they put out, well, they hadn't played
in three years, they even said during the show that we waited three years for this.
And the supporting acts at the time were the band, Joe Walsh and Jesse Collin Young.
And this was in Oakland at the Oakland Coliseum in, I believe, 1974.
It says July 13th there, so you could easily check the calendar, but I'm pretty sure it was 74.
I didn't bother to check.
[B] Anyway, [C] _ and _ [N] _ _ _ this turned into a whole series of concerts at Oakland for many years called
Day on the Green, where they would have shows, because this must have started at like 2 o'clock
in the afternoon and probably wrapped up around midnight.
I don't remember.
I was pretty [Bm] tired by the time it was over. _ _
_ [N] The Crosby and Nash shows, there are plenty of them available on YouTube.
I really encourage you to check them out.
And many of them, they typically were hilarious.
Now, part of it was just because of the general state, probably everybody's state at the [Bm] time.
[B] But they were really [C] entertaining, and the [Db]
harmonies that the two of them could [A] come
up with were just _ dazzling.
[Bm] So they could fill the room.
And when they sing the line in this one about from here to Venezuela, just the [Db] swell that
happens is spine tingling, I think.
So anyway, [Gb] okay, enough of the [B] background on the song.
[Gb] In the next segment, I will show you some of the chords and a little bit more about the picking.
[N] It's a normal, it's mostly normal alternating bass picking, but there's one major twist on it.
We'll talk about that, and you may have already figured out what it is.
As I play through the next part, _ I guess I'll tell you this in the next part, but as I play
through it, the idea when you're trying to figure out something that's going on in finger
picking is to listen to the bass independently.
See if you can separate the bass notes and hear when they happen and which notes they
are, and then worry about the melody notes separately, too.
So you have to be able to list two, dissect it into two separate parts, and that's the
key with figuring out anything that has a finger picking accompaniment involved.
_ _ Okay, enough about the background on the Leashore and my personal experience with it, and on
to the lesson. _ _ _ _ _
_ _ Well, as a starting point for this, I'm going to play through it through each of the parts,
although we'll talk about the intro separately.
I'm going to get to that later, maybe.
The pre-intro is what [G] I'll really be talking about this time.
_ [E] _
_ _ [Am] _ [E] _ _ What I want to [C] get to is the chord progression of, again, [N] only a couple of chords.
So first I'm going to play through a verse.
_ I'm going to start with an intro or the interlude that happens between verses, and I'm going
to play it kind of at real speed.
So what we have in, and maybe [G] between what you can see and what you can hear, [N] might be
able to pick up some of this.
So the intro, what we have is basically two chords going [G] back and forth, although on the
four-way street version he only plays one chord, but then in between [E] verses he starts changing.
_ [Bm] _ _ _ _ _
_ _ [E] _ [Bm] After four of these, _ _ _ _ _ _ the verse would start.
_ _ _ _ [C] _ _ _ _
_ _ _ _ _ _ _
Hopefully you've [Bb] got some clues about this and what's [G] going on with the picking.
Crosby uses really just two fingers [Bb] on the second and third strings, and then the thumb
[Eb] plays three different bass strings in the bass, depending on what chord he's playing.
Sometimes it would only play two.
But the key to the picking [Fm] in this song is that [E] it's this.
_ [B] _ _ _ _ _ _ _ _ _ [C] _ _ _
_ _ [A] _ _ _ _ _ _
_ _ _ _ _ _ _ _