Chords for Ticket To Ride & Intro - Carpenters 1972 'Live In Australia'
Tempo:
103.3 bpm
Chords used:
Eb
Bb
F
Gm
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] Thank you very, very much and good evening.
We're the [B] Carpenters and we'd like to thank you all for [Ab] coming out tonight.
We think we've got a good show for you.
We're going to kick things off by doing our first single, which contrary to popular belief was not close to you, unfortunately.
It was a ballad version of Lennon McCartney's Ticket to Ride.
But before we do Ticket to Ride, I'd like to explain a few things about how we get our sound [Gb] in [G] person as opposed to on record.
Now, [Ab] as most of you know, Karen and I do all the vocals [Bb] on the records.
We use a process that has been around for quite some time that's called overdubbing.
And that's in part responsible for the harmony sound we can get.
Overdubbing is a recording technique that is where you can go into a recording studio.
[Ab] And in our case, start by recording two part harmony on whatever song we pick to do.
But then what we can do is leave the two parts recorded and just keep adding [Bbm] two parts on top of what we've [Ab] already done.
And what we can actually do is stack up vocals until we get the [Eb] harmony sound that we want.
Now, to duplicate the sound in person, we use the help of all the guys in the group.
And we usually sing [Abm] four part harmony.
So what we'd like to do would be to put together a chord right now so you can see exactly how we do this on stage.
We selected for tonight's example the famous Whoa Whoa movement from Do You Know the Way to San Jose.
Starting with [E] the outer two parts of the chord first.
Okay?
One, two, one, two, three.
[Gb] Whoa, whoa, whoa, whoa, whoa, whoa, [E] whoa, whoa, whoa, whoa, whoa, whoa.
Undoubtedly, you've heard that many, many [Eb] times.
Now, [Ab] the inner two parts to that chord that Karen and I would do in the studio to make it a full chord
are going to be done by [G] Doug over here on my right, Danny over here on my left, and they sound like [C] the following.
Now, this may [G] sound a little strange to you, but that's Doug and Danny.
They're weird.
One, [Db] two, one, two, three.
[G] Whoa, [Eb] whoa, whoa, whoa, whoa, whoa, [G]
whoa. See?
[Em] Now, granted, that may sound a little strange, but you'll see [Abm] that when we put the whole [G] thing together, it really sounds [Dbm] bad.
Here we go.
[Fm] [Ebm]
[Fm] [E] [Ab] Now, there is one member of our group [Gm] who does not appear on stage with us.
His name is Chuck Webster, and [Ab] he's a very wide person.
[F] No, he can't be up here [Ab] because he has to be out in the back [C] listening to the sound because he's the sound [Eb] director,
[G] and he means quite a bit to us because this is what Ticket to Ride and San Jose and all the rest of the tunes sound like without him.
Ready?
One, two, [Ab] one, two, three.
[N] Here's Ticket to [G] [Bb] [F]
[Bb]
[Eb] [F]
[Dm] [Bb] [Eb]
[Gm] [A] [Dm]
[D] [Eb]
[Gm] [Bb]
Ride.
I think I'm gonna be sad.
I think it's today.
[Ab] The boy that's driving [Bb] me mad is going [Eb] away.
[F]
[Gm] He's got a ticket [Eb] to ride.
[Gm] He's got a ticket [Cm] to ride.
[Dm] [Eb] [Bb] He's got a ticket to [Cm] ride, [F] and he don't [Bb]
[Eb] care [Bb] who it [Eb] is.
[Bb] Since that living with me was bringing me down, yeah, he would never be free when I [Cm] was around.
[F] [Gm] He's got a ticket to ride.
He's got a ticket [Cm] to [Dm] ride.
[Gm]
[Bb] He's got a ticket to [F] ride, and he [Bb] don't care who it is.
[Eb] Don't know why he's riding so high.
He had a new ride, he had a new [F] ride by me.
[Eb] Before he gets to say goodbye, he had a pink flight, [Gm] he had a new ride [C] by me.
[Gm] [Bb] I'm gonna be sad.
I think it's today.
The [Fm] boy that's driving [Bb] me mad is going [Cm] away.
[F] [Gm] He's got a ticket to [Eb] ride.
[Gm] He's got a ticket to [Cm] [F] ride.
[Gm]
[Bb] He's got a ticket [Fm] to ride, [C] and he [F] don't care.
[Eb]
[F] Don't care [Eb] where
[Dm] [Gm]
I'm [F] [Eb]
[Bb] going to be [Eb] sad.
[Bb] Think I'm gonna be [Cm] sad.
[F] Think I'm gonna be sad.
[Eb]
[Dm] Think I'm gonna [Cm] be sad.
[F] [Bb] Think I'm gonna be sad.
[Eb]
[Bb] Think I'm gonna be [Cm] sad.
[Bb] Think I'm gonna be
[Eb] sad.
[Dm] Think I'm gonna be [Eb] sad.
[F] [Eb]
[F] [Bb] [Eb]
[Db]
[N] [G]
We're the [B] Carpenters and we'd like to thank you all for [Ab] coming out tonight.
We think we've got a good show for you.
We're going to kick things off by doing our first single, which contrary to popular belief was not close to you, unfortunately.
It was a ballad version of Lennon McCartney's Ticket to Ride.
But before we do Ticket to Ride, I'd like to explain a few things about how we get our sound [Gb] in [G] person as opposed to on record.
Now, [Ab] as most of you know, Karen and I do all the vocals [Bb] on the records.
We use a process that has been around for quite some time that's called overdubbing.
And that's in part responsible for the harmony sound we can get.
Overdubbing is a recording technique that is where you can go into a recording studio.
[Ab] And in our case, start by recording two part harmony on whatever song we pick to do.
But then what we can do is leave the two parts recorded and just keep adding [Bbm] two parts on top of what we've [Ab] already done.
And what we can actually do is stack up vocals until we get the [Eb] harmony sound that we want.
Now, to duplicate the sound in person, we use the help of all the guys in the group.
And we usually sing [Abm] four part harmony.
So what we'd like to do would be to put together a chord right now so you can see exactly how we do this on stage.
We selected for tonight's example the famous Whoa Whoa movement from Do You Know the Way to San Jose.
Starting with [E] the outer two parts of the chord first.
Okay?
One, two, one, two, three.
[Gb] Whoa, whoa, whoa, whoa, whoa, whoa, [E] whoa, whoa, whoa, whoa, whoa, whoa.
Undoubtedly, you've heard that many, many [Eb] times.
Now, [Ab] the inner two parts to that chord that Karen and I would do in the studio to make it a full chord
are going to be done by [G] Doug over here on my right, Danny over here on my left, and they sound like [C] the following.
Now, this may [G] sound a little strange to you, but that's Doug and Danny.
They're weird.
One, [Db] two, one, two, three.
[G] Whoa, [Eb] whoa, whoa, whoa, whoa, whoa, [G]
whoa. See?
[Em] Now, granted, that may sound a little strange, but you'll see [Abm] that when we put the whole [G] thing together, it really sounds [Dbm] bad.
Here we go.
[Fm] [Ebm]
[Fm] [E] [Ab] Now, there is one member of our group [Gm] who does not appear on stage with us.
His name is Chuck Webster, and [Ab] he's a very wide person.
[F] No, he can't be up here [Ab] because he has to be out in the back [C] listening to the sound because he's the sound [Eb] director,
[G] and he means quite a bit to us because this is what Ticket to Ride and San Jose and all the rest of the tunes sound like without him.
Ready?
One, two, [Ab] one, two, three.
[N] Here's Ticket to [G] [Bb] [F]
[Bb]
[Eb] [F]
[Dm] [Bb] [Eb]
[Gm] [A] [Dm]
[D] [Eb]
[Gm] [Bb]
Ride.
I think I'm gonna be sad.
I think it's today.
[Ab] The boy that's driving [Bb] me mad is going [Eb] away.
[F]
[Gm] He's got a ticket [Eb] to ride.
[Gm] He's got a ticket [Cm] to ride.
[Dm] [Eb] [Bb] He's got a ticket to [Cm] ride, [F] and he don't [Bb]
[Eb] care [Bb] who it [Eb] is.
[Bb] Since that living with me was bringing me down, yeah, he would never be free when I [Cm] was around.
[F] [Gm] He's got a ticket to ride.
He's got a ticket [Cm] to [Dm] ride.
[Gm]
[Bb] He's got a ticket to [F] ride, and he [Bb] don't care who it is.
[Eb] Don't know why he's riding so high.
He had a new ride, he had a new [F] ride by me.
[Eb] Before he gets to say goodbye, he had a pink flight, [Gm] he had a new ride [C] by me.
[Gm] [Bb] I'm gonna be sad.
I think it's today.
The [Fm] boy that's driving [Bb] me mad is going [Cm] away.
[F] [Gm] He's got a ticket to [Eb] ride.
[Gm] He's got a ticket to [Cm] [F] ride.
[Gm]
[Bb] He's got a ticket [Fm] to ride, [C] and he [F] don't care.
[Eb]
[F] Don't care [Eb] where
[Dm] [Gm]
I'm [F] [Eb]
[Bb] going to be [Eb] sad.
[Bb] Think I'm gonna be [Cm] sad.
[F] Think I'm gonna be sad.
[Eb]
[Dm] Think I'm gonna [Cm] be sad.
[F] [Bb] Think I'm gonna be sad.
[Eb]
[Bb] Think I'm gonna be [Cm] sad.
[Bb] Think I'm gonna be
[Eb] sad.
[Dm] Think I'm gonna be [Eb] sad.
[F] [Eb]
[F] [Bb] [Eb]
[Db]
[N] [G]
Key:
Eb
Bb
F
Gm
G
Eb
Bb
F
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ Thank you very, very much and good evening.
We're the [B] Carpenters and we'd like to thank you all for [Ab] coming out tonight.
We think we've got a good show for you.
We're going to kick things off by doing our first single, which contrary to popular belief was not close to you, unfortunately.
It was a ballad version of Lennon McCartney's Ticket to Ride.
But before we do Ticket to Ride, I'd like to explain a few things about how we get our sound [Gb] in [G] person as opposed to on record.
Now, [Ab] as most of you know, Karen and I do all the vocals [Bb] on the records.
We use a process that has been around for quite some time that's called overdubbing.
And that's in part responsible for the harmony sound we can get.
Overdubbing is a recording technique that is where you can go into a recording studio.
[Ab] And in our case, start by recording two part harmony on whatever song we pick to do.
But then what we can do is leave the two parts recorded and just keep adding [Bbm] two parts on top of what we've [Ab] already done.
And what we can actually do is stack up vocals until we get the [Eb] harmony sound that we want.
Now, to duplicate the sound in person, we use the help of all the guys in the group.
And we usually sing [Abm] four part harmony.
So what we'd like to do would be to put together a chord right now so you can see exactly how we do this on stage.
We selected for tonight's example the famous Whoa Whoa movement from Do You Know the Way to San Jose.
_ Starting with [E] the outer two parts of the chord first.
Okay?
One, two, one, two, three.
[Gb] Whoa, whoa, whoa, whoa, whoa, whoa, [E] whoa, whoa, whoa, whoa, whoa, whoa.
_ _ Undoubtedly, you've heard that many, many [Eb] times. _
Now, [Ab] the inner two parts to that chord that Karen and I would do in the studio to make it a full chord
are going to be done by [G] Doug over here on my right, Danny over here on my left, and they sound like [C] the following.
Now, this may [G] sound a little strange to you, but that's Doug and Danny.
They're weird.
One, [Db] two, one, two, three.
[G] Whoa, [Eb] whoa, whoa, whoa, whoa, whoa, _ [G] _
whoa. See?
_ _ [Em] Now, granted, that may sound a little strange, but you'll see [Abm] that when we put the whole [G] thing together, it really sounds [Dbm] bad.
Here we go.
_ _ _ _ [Fm] _ [Ebm] _
[Fm] _ [E] _ _ [Ab] Now, there is one member of our group [Gm] who does not appear on stage with us.
His name is Chuck Webster, and [Ab] he's a very wide person.
_ [F] No, he can't be up here [Ab] because he has to be out in the back [C] listening to the sound because he's the sound [Eb] director,
[G] and he means quite a bit to us because this is what Ticket to Ride and San Jose and all the rest of the tunes sound like without him.
Ready?
One, two, [Ab] one, two, three.
_ _ [N] _ _ _ _ Here's Ticket to [G] _ _ [Bb] _ _ _ _ [F] _
_ _ _ _ _ _ [Bb] _ _
_ _ _ [Eb] _ _ _ [F] _ _
_ _ [Dm] _ _ [Bb] _ _ [Eb] _ _
_ _ [Gm] _ _ [A] _ _ [Dm] _ _
_ _ _ [D] _ _ _ [Eb] _ _
[Gm] _ _ [Bb] _ _ _ _ _ _
Ride.
I think I'm gonna be sad.
I think it's _ today. _ _ _
_ [Ab] The boy that's driving [Bb] me mad is going [Eb] away.
_ _ [F] _ _
_ [Gm] He's got a ticket [Eb] to ride. _
_ _ [Gm] He's got a ticket [Cm] to ride.
[Dm] _ _ [Eb] _ _ _ _ [Bb] He's got a ticket to [Cm] ride, [F] and he don't [Bb] _
_ _ _ [Eb] care _ [Bb] who it _ _ [Eb] is.
_ [Bb] Since that living with me was bringing me down, _ _ yeah, _ _ _ he would never be free when I [Cm] was around.
_ [F] _ _ _ _ [Gm] He's got a ticket to ride.
_ He's got a ticket [Cm] to [Dm] ride.
_ [Gm] _ _
_ [Bb] _ He's got a ticket to [F] ride, and he [Bb] don't care _ who it is.
[Eb] Don't know why he's riding so _ high.
He had a new ride, he had a new [F] ride by _ me.
[Eb] Before he gets to say goodbye, _ he had a pink flight, [Gm] he had a new ride [C] by me.
_ [Gm] _ _ _ _ [Bb] _ I'm gonna be sad.
I think it's _ today.
_ _ _ The [Fm] boy that's driving [Bb] me mad is going [Cm] away.
_ _ [F] _ _ _ [Gm] _ He's got a ticket to [Eb] ride.
_ _ [Gm] He's got a ticket to [Cm] _ [F] ride.
[Gm] _ _ _
[Bb] _ He's got a ticket [Fm] to ride, [C] and he [F] don't care.
_ [Eb] _ _
_ [F] Don't care [Eb] where _
_ [Dm] _ _ _ _ _ [Gm] _
I'm [F] _ _ _ _ _ [Eb] _ _
_ [Bb] _ going to be [Eb] sad. _
_ _ [Bb] Think I'm gonna be [Cm] sad. _
_ [F] Think I'm gonna be sad.
[Eb] _
_ _ [Dm] Think I'm gonna [Cm] be sad. _
_ _ [F] [Bb] Think I'm gonna be sad.
[Eb] _
_ [Bb] Think _ I'm gonna be [Cm] sad.
_ _ [Bb] Think I'm gonna be _
[Eb] sad.
[Dm] Think I'm gonna be [Eb] sad.
_ _ _ [F] _ _ _ _ [Eb] _
_ _ [F] _ _ _ _ [Bb] _ [Eb] _
_ _ _ [Db] _ _ _ _ _
[N] _ _ _ _ _ _ [G] _ _
_ _ _ _ _ [G] _ Thank you very, very much and good evening.
We're the [B] Carpenters and we'd like to thank you all for [Ab] coming out tonight.
We think we've got a good show for you.
We're going to kick things off by doing our first single, which contrary to popular belief was not close to you, unfortunately.
It was a ballad version of Lennon McCartney's Ticket to Ride.
But before we do Ticket to Ride, I'd like to explain a few things about how we get our sound [Gb] in [G] person as opposed to on record.
Now, [Ab] as most of you know, Karen and I do all the vocals [Bb] on the records.
We use a process that has been around for quite some time that's called overdubbing.
And that's in part responsible for the harmony sound we can get.
Overdubbing is a recording technique that is where you can go into a recording studio.
[Ab] And in our case, start by recording two part harmony on whatever song we pick to do.
But then what we can do is leave the two parts recorded and just keep adding [Bbm] two parts on top of what we've [Ab] already done.
And what we can actually do is stack up vocals until we get the [Eb] harmony sound that we want.
Now, to duplicate the sound in person, we use the help of all the guys in the group.
And we usually sing [Abm] four part harmony.
So what we'd like to do would be to put together a chord right now so you can see exactly how we do this on stage.
We selected for tonight's example the famous Whoa Whoa movement from Do You Know the Way to San Jose.
_ Starting with [E] the outer two parts of the chord first.
Okay?
One, two, one, two, three.
[Gb] Whoa, whoa, whoa, whoa, whoa, whoa, [E] whoa, whoa, whoa, whoa, whoa, whoa.
_ _ Undoubtedly, you've heard that many, many [Eb] times. _
Now, [Ab] the inner two parts to that chord that Karen and I would do in the studio to make it a full chord
are going to be done by [G] Doug over here on my right, Danny over here on my left, and they sound like [C] the following.
Now, this may [G] sound a little strange to you, but that's Doug and Danny.
They're weird.
One, [Db] two, one, two, three.
[G] Whoa, [Eb] whoa, whoa, whoa, whoa, whoa, _ [G] _
whoa. See?
_ _ [Em] Now, granted, that may sound a little strange, but you'll see [Abm] that when we put the whole [G] thing together, it really sounds [Dbm] bad.
Here we go.
_ _ _ _ [Fm] _ [Ebm] _
[Fm] _ [E] _ _ [Ab] Now, there is one member of our group [Gm] who does not appear on stage with us.
His name is Chuck Webster, and [Ab] he's a very wide person.
_ [F] No, he can't be up here [Ab] because he has to be out in the back [C] listening to the sound because he's the sound [Eb] director,
[G] and he means quite a bit to us because this is what Ticket to Ride and San Jose and all the rest of the tunes sound like without him.
Ready?
One, two, [Ab] one, two, three.
_ _ [N] _ _ _ _ Here's Ticket to [G] _ _ [Bb] _ _ _ _ [F] _
_ _ _ _ _ _ [Bb] _ _
_ _ _ [Eb] _ _ _ [F] _ _
_ _ [Dm] _ _ [Bb] _ _ [Eb] _ _
_ _ [Gm] _ _ [A] _ _ [Dm] _ _
_ _ _ [D] _ _ _ [Eb] _ _
[Gm] _ _ [Bb] _ _ _ _ _ _
Ride.
I think I'm gonna be sad.
I think it's _ today. _ _ _
_ [Ab] The boy that's driving [Bb] me mad is going [Eb] away.
_ _ [F] _ _
_ [Gm] He's got a ticket [Eb] to ride. _
_ _ [Gm] He's got a ticket [Cm] to ride.
[Dm] _ _ [Eb] _ _ _ _ [Bb] He's got a ticket to [Cm] ride, [F] and he don't [Bb] _
_ _ _ [Eb] care _ [Bb] who it _ _ [Eb] is.
_ [Bb] Since that living with me was bringing me down, _ _ yeah, _ _ _ he would never be free when I [Cm] was around.
_ [F] _ _ _ _ [Gm] He's got a ticket to ride.
_ He's got a ticket [Cm] to [Dm] ride.
_ [Gm] _ _
_ [Bb] _ He's got a ticket to [F] ride, and he [Bb] don't care _ who it is.
[Eb] Don't know why he's riding so _ high.
He had a new ride, he had a new [F] ride by _ me.
[Eb] Before he gets to say goodbye, _ he had a pink flight, [Gm] he had a new ride [C] by me.
_ [Gm] _ _ _ _ [Bb] _ I'm gonna be sad.
I think it's _ today.
_ _ _ The [Fm] boy that's driving [Bb] me mad is going [Cm] away.
_ _ [F] _ _ _ [Gm] _ He's got a ticket to [Eb] ride.
_ _ [Gm] He's got a ticket to [Cm] _ [F] ride.
[Gm] _ _ _
[Bb] _ He's got a ticket [Fm] to ride, [C] and he [F] don't care.
_ [Eb] _ _
_ [F] Don't care [Eb] where _
_ [Dm] _ _ _ _ _ [Gm] _
I'm [F] _ _ _ _ _ [Eb] _ _
_ [Bb] _ going to be [Eb] sad. _
_ _ [Bb] Think I'm gonna be [Cm] sad. _
_ [F] Think I'm gonna be sad.
[Eb] _
_ _ [Dm] Think I'm gonna [Cm] be sad. _
_ _ [F] [Bb] Think I'm gonna be sad.
[Eb] _
_ [Bb] Think _ I'm gonna be [Cm] sad.
_ _ [Bb] Think I'm gonna be _
[Eb] sad.
[Dm] Think I'm gonna be [Eb] sad.
_ _ _ [F] _ _ _ _ [Eb] _
_ _ [F] _ _ _ _ [Bb] _ [Eb] _
_ _ _ [Db] _ _ _ _ _
[N] _ _ _ _ _ _ [G] _ _