A Quote by Mick Taylor
I had to learn chord shapes. I bought books with chord charts. I used to listen to all kinds of pop music.
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I had to learn chord shapes... I bought books with chord charts. I used to listen to all kinds of pop music.
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
I don't really have a favorite genre. I could listen to a rock song, a metal song, jazz, pop music, whatever. For me, whatever style it is, it always depends on the chord progression, the lyrics, and the melody used.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
We were on a tour, and there were some chord formations that were tough for me to play when I was a kid...it had become apparent that there was some stuff I wanted to do that [would require me] to learn how to do that. So I wrote the song and used some of these chord formations so I would have to play them. I thought it would be a great teaching vehicle for a while, and it was, but it ended up as a performance song.
My real name is Chord Overstreet. I actually got my name because my dad is in the music business as a songwriter. I was the third one in my family born, and there are three notes in a chord, so that's how they came up with my name.
Matter exploded into being, apparently as chaos, but in fact as a chord. The ultimate power chord.
I've played the guitar since I was 12, and just taught myself songs chord by chord.
Chopin was a master of melody, harmony and voice leading - the art of smoothly moving from chord to chord.
As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change.
The very funny thing about "Like A Rolling Stone" is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
If I don't already know a song's chord progression, I'll stop writing and try to figure it out. I can occasionally listen to unstructured, amelodic ambient music, but I prefer no music. I don't need silence - I can write just about anywhere - but music is a major distraction.
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