Chords for You'll Get By - Pass Notes with Steve Knightley

[G] You'll get by, you'll [D] always [D] do, [A] for the wind that [D] shakes the barley never touches [G] you.
_ _ Hi, welcome to Passed Notes number 5.
I'm doing a little series of films about the songs on the Battlefield Dancefloor album and today it's You'll Get By.
Now I wrote the song on the cello mandolin, I'm using those big D chunky sort of octave chords but bearing in mind that most people out there will probably be playing a guitar, I thought I'd just give you a bit of a trip round the chords first of all.
Put the capo on [E] second and I'm playing a [D#] C shape, so I'm calling [D] this a [A] C and this a G, although it's [D] really a D and [E] an A or whatever.
So the _ [G] verse first of all.
[D] C [A] to G to F, sorry C to [A] G back to C.
[D] C to [G] F [D] to C [G] to F [A] to G and that repeats itself.
C to G [G] to [D] F, C to [A] F [D] to C.
And then the second part.
[G] Summon up your strength, A minor, [Bm] lean upon [D] the oar, D [Em] minor.
Send in [G] here to F, [A]
G, G, G, G, G, chorus.
[G] You'll get by F, back to [D] C, _ _ G, [A] _ [D] C, C, [G] G, F.
Come on sister, [A] G, [Bm] don't you cry.
_ And then [G] F [A] to G to [E] C.
So that's basically the chords of the song, it's not that particularly complex.
There is a middle A but that's not going to be that difficult to figure out I don't think.
So what I did again is I basically made a lot of random noises into my iPhone about a year ago.
And the idea of the song was just to sort of, I sort of think of it as a spell or a prayer for everybody going through stuff.
Going through crises of some sort or another.
And I suppose it was something that my wife who is a GP said to me that she's dealing with people under immense stress from work and they're in their middle ages, they're not young people all the time.
And they're stressed at work and there's relationship problems, all the kids have left home, there's financial worries.
And they're feeling pain as bad as they ever did when they were young.
I know that doesn't make grammatical sense but you know what I mean.
So that's the idea.
It's like a dress to the audience in front of me.
You'll get by, you'll be [F#] fine.
And I have to owe a debt here.
I didn't realise this when I was writing it.
Pete Morton's There's Another Train.
Pete is a fine Leicestershire songwriter.
And there's another train there always is.
Maybe the next one is yours.
Get up and climb aboard.
It's a far better song than this one.
So I do owe a debt to Pete.
It's a similar sentiment.
You know you're going to be fine.
You'll get through this.
Everything's going to be alright.
So what I did about a year ago as I say, into my iPhone.
I don't know where I was.
I might have been walking or driving. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ Some of this is really bad. _ _ _ _ _ What? _
_ _ _ [F] _ _ _ _ _
_ _ _ _ _ So you got the basic idea of the song.
You'll get by and various things may buffet you.
Don't use that word very often.
But you'll get through it.
So about two weeks later having let this sort of gestate.
Is that the word?
Let this pickle.
_ _ _ [G] _ [A] An idea for the verse.
_ [N] _ _ _ Yeah, [D#] this is a verse idea.
_ _ _ What?
_ What?
Falling at the now.
[N] _ _ Okay, you've been down.
You've been bowed but never broken.
That ended up in the final lyric.
I think that's in the middle eight.
So I've now I've got an idea for the verse.
I've got an idea for the song.
It's getting pretty complete.
And this wasn't that later after the last one.
_ Here's the verse. _ _
_ Pretty much complete now, isn't it? _ _ _
_ _ _ _ _ _ _ _
_ _ [D#] Yeah, there you go.
There's the chorus. _
I reversed that in the final song.
I didn't like the assumption that it's only women that cry.
So it's not hang on.
Hang on, brother, sister, don't you cry.
I've reversed that.
Hang on, brother.
Hang on, sister, brother, don't you cry.
So little modifications here and there.
So I probably got the ideas for the song all complete.
Then it's a question of really sitting down and finding the music that fits.
[D]
Goes with it.
So about two weeks after that, I've got a pretty much a full version.
Again, I just chuck this down.
_ _ On the cello mandolin, you can hear.
_ _ _ _ [A] _ _
[D] _ _ _ _ _ _ _ _
_ [A] _ _ _ _ [D] _ _ [C#] _
_ [D] _ _ [G] _ _ [D] _ _ _
_ [Am] _ [D] _ _ _ _ [G] _ _
_ _ _ [Bm] _ [E] Yeah, the song is now complete and I was ready to try and get some feedback.
A good friend of mine is Ian Brown, who manages Fisherman's Friends, but is also a successful songwriter in his own right in the commercial world.
Really, he's done.
He's got songs in the West End under various aliases.
And I always run ideas by Ian because I know he'll tell me what he thinks.
And I sent this off to him.
He said, lovely song, Steve, but you can't do it and you can't dance to it.
And all of these maritime images aren't going to mean anything to the record buying audience.
In other words, young people.
I said, you know, fair point, Ian, but I'm going to prove you wrong.
And he said, OK, I hope you do.
So this is very much more addressed to the audience that we find in front of us rather than youth, as it were.
And we'll just see what sort of life it gets, really.
So but that original mission statement as a prayer and a spell.
I now do this at the beginning of the show live.
I just play this little preamble, which [D] didn't end up on the record.
Here's a spell and a prayer for you [G] for the bruised [D] and the broken hearted, [G] for the weary and the [A] whistleblower, [G] newly born or [A] just departed, for [D] the fruit that withered on the [G] vine, for the seed you left unplanted, [D] for the love you watched walk [G] away and the friends you took for [F#] granted.
And then the song [D] starts. _ _ _ _
_ _ I build a life [A] together.
[D] It's shattered to [G] the core.
[D] Once again, [G] you're gathering [A] up the pieces.
_ [D] A ship has [A] come [D] untethered, drifting free once more.
And the ever rising storm never ceases.
_ _ [G] Summon up your strength [Bm] and lean upon [D] the oar.
[Em] I'm sending [D] you a dove, [A] now strike out for the shore.
[G] You'll get by, you [D] always do.
[A] For the wind that [D] shakes the barley never touches [G] you.
Come on sister, [A] brother, [Bm] don't you cry.
_ [D] You don't know [A] it now, [D] but you'll get