A Quote by Neil Diamond
When I first started, I worked with three chords in every bar, but I found that tied me down - I'm not a chord-change writer, I'm a songwriter.
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One chord is fine. Two chords are pushing it. Three chords and you're into jazz.
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.
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.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
I started playing when I was about 13, mainly because Dad had guitars lying around the house. My dad taught me my first three chords, and I taught myself from there.
The rage is still there but I found the right kind of channel, because it's tied to a love, it's tied to a struggle for justice. And most importantly, for me, it's tied to a recognition that I am a cracked vessel.
It's really weird to be playing chords again. Haven't played chords for a long time. I realised I haven't played chord changes since OK Computer and stuff like that.
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.
... there are chords in every human heart. If we only knew how to strike the right chord, we would bring out the music.
I met the pianist Barry Harris when I was about fifteen. He would show me changes, which I had no idea existed. I knew about scales, but I didn't think about chords. I was fortunate in that he lived right around the corner so I'd be at his house almost every day and he showed me about playing melodies over chords. After about three years, I could play some gigs. I worked with drummer Roy Brooks and other guys my age at that time, like trumpeter Lonnie Hillyer. Some of the older guys were Paul Chambers, Doug Watkins and Louis Hayes
My songs, they have just the one chord, there's none of that fancy stuff you hear now, with lots of chords in one song. If I find another chord I leave it for another song.
My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
Who made me laugh when I was growing was Chaplin and the Marx Brothers, and then moving on, there were so many that I was a writer for for many years: I was a writer for the Smothers Brothers, Lily Tomlin, then I started on 'Saturday Night Live' as the head writer the first year we started it.
About ten years ago, I knew three chords on the guitar. Now, in 1982, I know three chords on the guitar.
The reason we did 'Land of a Thousand Dances' and 'Gloria' on 'Horses' was because I liked repetitious, three-chord rock songs, but I didn't understand that I could write my own. I didn't realize that you could use those chords a million times.
Before I became a writer, I was running a jazz bar in the center of Tokyo, which means that I worked in filthy air all the time late into the night. I was very excited when I started making a living out of my writing, and I decided, 'I will live in nothing but an absolutely healthy way.'
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