Action

The action is when you raise or lower it to make the strings either closer or further away from the fretboard. Look where the strings are held in place on the body of the guitar... the bridge of the guitar and you can raise it or lower it usually with a screwdriver. So you can see the difference when you look at the guitar like this:

Altered and Open Tunings

The result of changing the tuning of one or more strings from standard EADGBE. So changing it to things like drop D or tuning the guitar to a chord will then be called an altered tuning.

Alternate Picking

Picking in alternate directions (down-up-down-up). 

Arpeggio

A broken chord, usually played evenly low to high and back again. Refer to my previous lessons for a detailed lesson on Arpeggios : Arpeggios

Arrangement

The setting of an original or standard tune for a given solo instrument or group of instruments.

Barre Chord

The most popular style of chords. The technique of placing the left hand's index finger over two to six strings in the fingering of a chord. The awesome advantage of using barre chords is that they are "moveable shapes" that can be applied at practically any fret. 

Bending

Pushing or pulling a string up or down across the a fret to raise the pitch of a note by a half to full tone or more. Used extensively in rock and blues playing as well as in jazz.

Bridge

The method of supporting the strings on an electric or acoustic guitar. 

Capo

One of my favourite tools, a capo is a mechanical barre that attaches to the neck of a guitar by means of a string, spring, elastic or nylon band, or a lever and thumbscrew arrangement. The capo can be used to raise the key of a song to suit a vocalist as well as to lower the action and shorten the string length. 

Closed Voicing

The term "voicing" refers to the vertical arrangement of the notes of a given chord. "Closed voicing" places those notes as close together as possible, no matter the inversion as opposed to "open voicing" which spreads the member notes of the chord at larger intervals. 

Cutaway

A concave area generally in the upper right bout of a normal right-hand guitar that allows the player easier access to the high frets. I personally love this and prefer guitars with cutaways.

Finger Picking

Playing with the fingernails or fingertips with or without fingerpicks as opposed to playing with a flatpick. 

Frets

Metal strips placed across the fingerboard to determine semitonal spacing.

Hammer-on

A note sounded literally by "hammering" down with a left hand finger, often performed in conjunction with a note first plucked by the right hand on the same string.

harmonics

Some peopl efind this really difificult to do. They're chime-like sounds achieved in two ways: 

1) Natural Harmonics - by touching a string at any equidistant division of the string length (typically 5th, 7th, and 12th fret), directly above the fret with left hand, and striking hard with the right-hand fingers or pick near the bridge where there is more string resistance; or 

2) Artificial Harmonics - touching a string with the index finger of the right hand twelve frets higher than any fretted note and plucking the string with either the thumb or third finger of the right hand. 

Headstock

Section for mounting the machine heads or pegs. 

Heel

A reinforced section supporting the neck where it joins the body. 

Nut

Point at which the strings are supported as they run from the fingerboard to the headstock. 

Open Voicing

A manner of chord construction in which the member notes are broadly separated. See closed voicing above. 

Pickup

A coil wound with fine wire which converts the sound into electrical signals. 

p i m a

Letters derived from the Spanish names for the fingers of the right hand: pulgar (thumb), indice (index), medio (middle), and anular (ring). Used to indicate fingering. 

Pull-off

The opposite of a hammer-on. Performed by plucking a note with a finger on a higher note and pulling parallel to the fret to sound a lower note on the same string. 

Rasgueado

Method of strumming used by flamenco guitarists.

Saddle

The point on the bridge for supporting the strings. 

Slide

A plastic or glass tube placed over the third or fourth finger of the left hand and used to play "slide" or glissando effects in rock and blues and other forms of traditional music. 

Transcription

To write a piece of music or a solo, note for note, off of a recording.

Transpose

To change the key of a piece of music by a specific interval. 

Tremolo

A technique performed with either a very rapid down-up movement of the pick or a pami plucking of the fingers.

What is Tapping?

Tapping is the technique that involves both hands to be doing something on the fretboard at the same time. It can be done using your fretting hand doing a hammer-on technique while your picking hand is tapping a fret. Speeds can vary between hands, for example the solo's intro on Ozzy Osbourne's "Crazy Train", it uses two quick taps and 1 hammer on with the fretting hand. 

I am not going to lie, it took me a little while to get the timing down between both hands, so be prepared to get a little frustrated with some things at the beginning.

Here's a step-by-step guide to getting tapping down, but, as a recommendation I would highly recommend that you look up some of the guys like Eddie Van Halen, its a big help to have the visual aid.

* alright, so if you're not holding your guitar right now, go get it and be ready to have your mind blown.

* get into a comfortable playing position and either you can use your pick or just one of your fingers on your picking hand to tap. 

* to reduce the hand strain from stretching and repeated hammer-on pull-off technique, place your fretting hand's index finger at the 10th fret of the B string.

* now perform a hammer-on *without picking* at the 12th fret of the same string.

* this is what your fretting hand will be doing , or some variation of it, while you tap.

* for the actual tapping, you have 2 choices, you can either use your pick turned sideways or your fingers. 

-first, place your hands index/middle finger or pick at around the 14th fret.

-second, literally press down onto the 14th fret with your finger or pick and slightly pull up towards you or push down away from you. This is a slight movement and should not be highly exaggerated unless you want random strings to be struck as you tap.

-third, now as you pull your finger/pick away from the string, hammer-on to the 12th fret with your fretting hand.

-finally, as you finish the hammer-on with the fretting hand, tap with your finger/pick and repeat steps 2 and 3.

     T         T         T         T         T

e--------------------------------------------------------

B----14p10h12--14p10h12--14p10h12--14p10h12--14p10h12----

G--------------------------------------------------------

D--------------------------------------------------------

A--------------------------------------------------------

E--------------------------------------------------------

Again I would highly suggest that you watch Eddie Van Halen doing "Eruption" live from I think 1984-85, it would only help with the technique.

Remember that you can be creative with your tapping, try using 3 fingers to fret notes while you tap, it can add a whole new sound to it!

This is a technique that takes a lot of practice and time to be really good at, you will hit the other strings around you, but don't be worried, eventually you will get to be accurate and controlled with your taps and will not hit anything you don't mean to.

LEFT HAND WARM UPS

First the trills. In my opinion trills are the best way to loosen up your fingers. They are also a great way to build up muscles in your fingers to decrease fatigue. I do them like so.

h=hamer on, p=pull off

e-------------------------------1h2p1--------------------------------------------|

B-------------------------1h2p1-------2h3p2--------------------------------------|

G-------------------1h2p1-------------------2h3p2--------------------------------|

D-------------1h2p1-------------------------------2h3p2-----------------------etc|

A-------1h2p1-------------------------------------------2h3p2-------------etc----|

E-1h2p1-------------------------------------------------------2h3p2-3h4p3--------|

try to make it all the way until your index finger hits the 12th fret. But if it hurts STOP!

after doing that do it again with your ring and pinky finger. You will find that your fingers feel loos and ready to play.

next comes finger stretching

This will help you stretch out your fingers so that you can make some of those more intense cords. This one starts with your index finger on the 12th fret and looks like this. 

e-----------------------------------------------------------------|

B-15-15-15-15-14-14-14--------------------------------------------|

G-14-14-14-13-13-13-13--------------------------------------------|

D-13-13-12-12-12-12-11--------------------------------------------|

A-12-11-11-11-11-10-10-etc-etc------------------------------------|

E-----------------------------------------------------------------|

keep going until your index finger is on the first fret or until you cant go any further. As the frets get farther apart you will stretch your fingers out more.

chord changing

This next one will help you move your hands easier when changing chords. 

e---------4-1-5-2-------------|

B-----4-1-3-2-4-3-5-2---------|

G-4-1-3-2-2-3-3-4-4-3---------|

D-3-2-2-3-1-4-2-5-3-4---------|

A-2-3-1-4---------2-5---------|

E-1-4-----------------etc-etc-|

Go all the way until you your index finger gets down to the 12th fret and then go back to the first fret.

moving up and down the neck

This one is to help move up and down the neck and keep the location of octaves are fresh in your mind.

e-------------------------------6-7-8-8-7-6---------------------------------------|

B-------------------------6-7-8-------------8-7-6---------------------------------|

G-------------------3-4-5-------------------------5-4-3---------------------------|

D-------------3-4-5-------------------------------------5-4-3---------------------|

A-------1-2-3-------------------------------------------------3-2-1---------------|

E-1-2-3-------------------------------------------------------------3-2-1-etc-etc-|

with this one go as far as you can on your guitar with the lat finger on the high e string and then come back to where you started.

RIGHT HAND

right and left hand synching exercise 

This one is simple. it is just chromatics going up and down the fret board. like so.

e-----------------------------------------1-2-3-4-5-4-3-2---------------------------------|

B---------------------------------1-2-3-4-----------------5-4-3-2-------------------------|

G-------------------------1-2-3-4---------------------------------5-4-3-2-----------------|

D-----------------1-2-3-4-------------------------------------------------5-4-3-2---------|

A---------1-2-3-4-----------------------------------------------------------------etc-----|

E-1-2-3-4-----------------------------------------------------------------------------etc-|

the first time you do this one start with a down stroke and continue on with alternate picking. Then do it the same way only this time start on a down stroke. This will make sure that you are ready for both inside and outside picking. Go all the way to the 12th fret and then go back to the first.

alternate picking exercise

this one is exactly like the last one except you only use three fingers instead of all four (so instead of 1-2-3-4 change it to 1-2-3) This makes it so that, if done with a strict alternate picking style, You alternate inside and outside picking. remember after starting with an up stroke do it again but this time start with a down stroke.

sweep picking

this time we try sweeps. like so. 

u= up stroke d= down stroke

  ddd uuu  ddd uuu

e--------------------------|

B--------------------------|

G--------------------------|

D---3-3------4-4-----------|

A--2---2----3---3----------|

E-1-----1--2-----2-etc-etc-|

do this on every group of three strings. 

RIGHT AND LEFT HAND WARM UP

String skipping exercise

This one is like the alternate picking exercise except you skip the string. like so.

e-------------------------------------------1-2-3--3-2-1-------------------------------|

B-------------------------------1-2-3--------------------------3-2-1-------------------|

G-------------------1-2-3-------------1-2-3--------------3-2-1-------------3-2-1-------|

D-------1-2-3-------------1-2-3--------------------------------------3-2-1-------------|

A-------------1-2-3--------------------------------------------------------------3-2-1-|

E-1-2-3--------------------------------------------------------------------------------|

same drill as the alternate picking one. all the way up, all the way back, once starting in an up stroke one starting with a down stroke.

'Bass Drum Immersion

Many drummers have amazing hand speed and control, but still find it difficult to master basic single strokes on a double pedal. They work at it from time to time, but never quite get it to the functional stage. I believe this is because the development of pedal technique is largely absent in most beginner lessons.

It's a proven fact that kids at a very young age have a significant advantage when it comes to learning a second language - while teenagers that have spoken English for 15+ years find it more difficult. I believe this is because teenagers have gotten past the initial stage of development, and no longer *need* to learn in order to communicate. This would explain why French (or other) immersion classes are so effective. The student is forced to learn if they want to participate on any level.

I suggest you take a bass drum immersion class of your own. This is especially effective for double bass players, but also relates to single pedal drummers. Decide for yourself that virtually every beat or fill you practice for the next three months will incorporate some unique pedal work. Spend a good portion of your daily practice focusing specifically on bass drum development. Most importantly of all, do NOT stop or slow down until you have developed the ability to use your new found skill in a musical context. Work through everything until you are comfortable playing it in virtually any setting. Only then will it become a true ability.

Single Bass Drum Technique

At first, it may seem like you are at a disadvantage when playing a single pedal. However, I don't look at things that way at all. The simplicity of a single pedal setup can, in many ways, allow you to achieve usable results sooner. Better still, it's all the more impressive to play amazing hand to feet combinations using just one foot. This is used all the time in music styles like punk rock, and heavy metal rock!

I've got a special secret method for playing amazing hand to feet combinations that is an excellent alternative for single pedal drummers. More on that later...

Double Bass Drum Technique

Playing double bass, whether it be two bass drums or just double pedals, has a very different learning curve when compared to single pedal drumming. You will find that it takes twice as long to initially develop speed and control, however, things become significantly easier once you have the basics down. A concept or pattern that a single pedal drummer struggles with will often be fairly simple with two pedals. Beyond that, there are some things that just cannot be done without having a double pedal.

Imagine playing drums with a single hand. Yes, you can use methods like the Moeller or finger control technique to play fairly fast, but it just isn't the same. Likewise, playing with a single pedal can be limiting when you want to branch out into more creative drumming concepts (flams, single stroke or double stroke rolls, etc.).

Heels-Up vs. Heels-Down

Playing heels-up can be significantly easier when you are first learning to play, and thus many drummers become completely reliant on it. As I explained earlier with my second-language analogy - they just find it easier to stick with the one method that is already working perfectly. The line "if it ain't broke, don't fix it" comes to mind.

However, I think drummers that skip out on the heels-down method really sell themselves short. You see, playing heels-up uses many more muscle groups - including the same muscles used to play heels-down. Thus, it takes almost twice the energy to play a beat with that method.

I would encourage you to take up both methods. Playing heels-down will help you develop important muscles that will actually speed up your heels-up playing, and give you added control. It's like comparing finger control technique with using all wrists to play around the snare and toms. Yes, you get more power out of using wrists, but the fingers save energy and give you added speed. Develop both techniques to see best results.

Using Ankle Weights To Develop Speed

Using ankle weights when practicing drums is a relatively well kept secret in the industry. A few drummers, that I consider to be reliable sources, have told me that even Thomas Lang and Virgil Donati make full use of them to develop speed and control. I'm not sure why this isn't covered in instructional videos (that I have seen). You can draw your own conclusions, but I'm guessing they may want to keep a method or two quiet as to not give away all of their secrets.

Essentially, you want to wear the ankle weights as you practice both heels-up and heels-down. When you go to remove them after 20+ minutes of practice - it literally feels like your feet are floating on the pedals! It's truly a unique feeling.

Double Bass Synchronization

The key to achieving single stroke speed on double pedals is to find the sweet spot on both pedals. It's like the balance (or fulcrum) point in a drum stick that allows do the least amount of work. It is vital that both of your feet play at the SAME balance point. Don't get used to playing your left foot slightly different than the right. It will make it significantly more difficult to synchronize your singles at top speed - which adds one more hindrance to achieving your best result.

The Secret To Bass Drum Speed

Ever wonder how the world record speed of 1407 BPM was achieved with double pedals (23.45 strokes per second), or how drummers like Travis Barker play insanely fast hand-to-feet combinations with a single pedal? The secret is a simple method that, while difficult to explain in text, is really quite simple when applied to the pedal.

No, it is NOT some accessory you have to add to your pedals or lug around from gig to gig. This method can be played on any pedal (single or double bass) to produce fast double strokes with your feet. It's called the heel-toe technique.

Think of how you play the snare drum with your hands. Playing a double stroke roll allows you to play significantly faster than singles, and by incorporating doubles you can play many more patterns and rudiments that would be virtually impossible with single strokes alone.

The Heel Toe Technique

The heel-toe technique not only allows you to play doubles with ease, but it also allows you to play them with speed and precision that just cannot be achieved without it. You can use it with two pedals to play double strokes rolls, or on one pedal to connect fast hand-to-feet combinations. I still come up with new ways of implementing it on a regular basis.

If you want to learn this method the right way, I recommend you check out the instructional video on Jared Falk's Bass Drum Secrets web site. It shows the right way to play the technique by breaking it down step-by-step in slow motion video. It'll cost you less than an average drum lesson, and this technique will honestly revolutionize the way you look at playing drums. This bass drum speed technique will enable you to play the drums better than many drummer with your level of experience.

Jared has finally upgrade to have a DVD delivery option - as the downloadable video was lower quality, and people would often accidentally delete the video. It's one of those things that you really only need to watch a few times. Once you get the technique - you have it for life. Its a great product to have in your drumming library.

Drummers are a different breed of people - they are set apart from other musicians. They have a totally different job, and different feel with their instrument. They are required to be able to move, and separate themselves from the rest of the band. Although they are still musicians, and share much of the same qualities, you cannot really compare a drummer to a melodic musician. There are certain things that you get out of drumming that you can't get out of other instruments.

Physical Benefits Of Drumming

The first obvious benefit to drumming is the physical aspect to it. Like mentioned above, drumming is a physical activity, one that takes a lot of energy. Sit on a stool, move your hands and feet around the kit at fast speeds, for long periods of time, and see how you feel. Tired? Its not an easy job. The cardio muscles in drummers are much more developed than in non-drummers. For all the parents out there who have trouble getting their young ones to get some exercise, try sitting them on a drum kit. Not only will they get the exercise they need, they will also have fun!

Mental Benefits Of Drumming

Drumming takes a lot of work, time, and energy that- when done right- is very rewarding. These kinds of reward can bee seen and heard very easily; so drummers are very self motivated. This determination and focus you learn can be applied to any situation. When playing a beat, drummers use every part of their mind to make sure every part of them is playing on time. For the younger kids out there, this helps to develop fundamental skills in channeling their mind, and focusing on one thing. Any parents out there who have kids suffering with ADD or ADHD? This is a big benefit for you. Getting your young ones to start playing the drums is a great way to help them take out their excess energy on something that is very useful, and physical.

Musical Benefits Of Drumming

Throughout this article you may get the impression that a drummer is not a musician. This is far from the truth. Being a musician is just another benefit of being a drummer. Having the feeling like you are accomplished is a feeling that no one can explain. Being in a band or other music group will give you confidence and meaning that other activities just cannot give you.; If you are a parent of a child who is lacking in self confidence, drumming may be the solution for you.

Weather you are young, old, or middle aged, playing the drums can be the most rewarding experience. It will keep you active, it will keep you thinking, and it will keep you in the know. I would strongly suggest drumming to parents with kids of any type. It helps shape the personality of a person by teaching them some fundamental life skills.

This rudiment works great for building stamina, and strength in your wrists and fingers. You will be surprised at how much your drumming improves when you practice the single stroke roll routinely. Remember to always use a metronome when practicing any drum rudiment, it will keep you on time, and will allow you to measure your progress. Practice the single stroke two ways. First, get a timer handy and time yourself going as fast as you can for one minute. This will build strength and speed. Second, Set your metronome at a lower speed, and go a longer period of time. This will help build endurance and stamina.

We will start with proper stick grip. Without proper stick grip, you will have uneven strokes that sound more like a flam than a roll. Also, you will find you have more endurance and control when you are holding the sticks right. The principle is the same either way you hold your sticks. If you are using matched grip, you will want to try and make your weaker hand copy your dominant hand exactly – this is the same with the French grip. If you are using the traditional grip, you may notice yourleft hand must move in a different way then your right. Stick independence will come in time, and that is why you are practicing the single stroke roll.

The Single Stroke Roll

The single stroke roll is very easy to learn. You simply alternate your sticking: Right, Left, Right, Left… Try to get the same sound out of both your sticks, so they sound uniform. Here’s how a single stroke roll looks like:

For some more advanced practice, try adding accents in. Practicing the single stroke roll with accents will help develop stick independence. In these next examples, you will use accents on your right, and left hand!

All that is left is to add some cymbals in, and expand on the beat a bit. There’s no limit to how long you can’t go for, as long as you keep people interested. You don't want to keep repeating the same roll over and over. The audience will get bored very fast. You have to keep changing different techniques and feels, while keeping them all related. Just like a song, you wouldnt totally change the feel everytime you go from verse to chorus, you always need something relative to tie everything together. Make sure that all elements of your drum solo all have the same type of feel. You can get alot of ideas from going on websites like YouTube or Google-Video, these websites have home made video's from many talented drummers that you can learn drum solo techniques from.

Finishing A Drum Solo

There are many ways to finish off a drum solo. One way is to bring it down to a soft stop. This can be done by bringing the dynamics down, and slowing the beat down a bit. You may like this technique if you are doing a long solo, where all attention is on you. It will bring closure to your beat. The other way is to go out with a bang. This is a great method if you are ending a show, or song. Crash away at your cymbals, while playing on the set as fast as you can. Fast drum rudiments going around the toms are sure to impress your crowd. End with a final blow to your crash.

Chord Guide

      3    4

G:    3x0003

      134211

F:    133211

       32 1

C:    x32010

       1333

Bb:   x1333x

        231

Am:   x02210

         3 2

Cmaj7/G: 3x2000

Intro:

/ G - - - / F - - - / G - - - / F - - G / C - - - / - - - - /

/ G - - - / F - - - / G - - - / F - - - / G - - - / F - - - /

/ C - - - / - - - - /

C                        F (½)  C (½)        G                   C (Bass run: g-a-c)

  If you see her, say hello,    she might be in Tangier

C                            F (½)    C (½)        C                   Bb   G

   She left here last early spring,    is livin' there, I hear

Am                     F (½)    C (½)             C                              F

  Say for me that I'm all right though things get kind of slow

Am                                   Cmaj7/G                F                    C (2)

  She might think that I've forgotten her, don't tell her it isn't so.

C                F (½)  C (½)       G                 C (Bass run: g-a-c)

  We had a falling-out, like lovers often will

             C                      F (½)      C (½)     C                        Bb   G

And to think of how she left that night, it still brings me a chill

           Am                F (½)    C (½)     C                           F

And though our separation,          it pierced me to the heart

Am                           Cmaj7/G         F                     C (2)

    She still lives inside of me, we've never been apart.

C                       F (½)  C (½)   G                             C (Bass run: g-a-c)

   If you get close to   her,        kiss her once for me

C                             F (½)      C (½)        C                                          Bb   G

   I always have respected her for       doin' what she did and gettin' free

Am                                  F (½)    C (½)     C                         F

Oh, whatever makes her happy,          I won't stand in the way.

            Am                   Cmaj7/G                 F                                    C (2)

Oh, the bitter taste still lingers on, from that night I tried to make her stay.

C                        F (½)  C (½)    G                        C (Bass run: g-a-c)

   I see a lot of people               as I make the rounds

           C                     F (½)       C (½)        C                     Bb   G

And I hear her name here and there as I go from town to town

                   Am            F (½)    C (½)            C                            F

And I've never gotten used to it,    I've just learned to turn it off

Am                 Cmaj7/G    F                       C (2)

Either I'm too sensitive or   else I'm gettin' soft.

C                  F (½)          C (½)        G                   C (Bass run: g-a-c)

   Sundown, yellow moon,              I replay the past

C                           F (½)    C (½)     C                   Bb   G

I know every scene by heart, they all went by so fast

Am                   F (½)       C (½)       C                      F

If she's passin' back this way, I'm not that hard to find

Am                      Cmaj7/G       F                      C (2)

Tell her she can look me up        if she's got the time.

/ G - - - / F - - - / G - - - / F - - - / G - - - / F - - - /

/ C - - - / - - - - /

/ G - - - / F - - - / G - - - / F - - - / G - - - / F - - - /

/ C - - - / - - - - /

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Riff x4

w/riff:

I stick loneliness, you lips

and the two coins of your eyes

into my pockets

well the train skates into

Port Henry late Sunday

sometimes when I'm riding high

feeling fine you know there's something

troubling yeah, troubling my mind

Chorus:

       G                   D                        C     G

so I reach into my pocket for some small change

    G                  D                        C      G

I reach into my pocket for some small change

Instrumental:

/ D - - - / G - D - / C – - - / D – G - / G – D – /

/ C - - - / - - - - / C (hold) /

I want bones like iron blood like mercury

so I can tell you when I'm rising

and when I'm sinking in

Chorus

Instrumental

               G                          D

hey let's drink from the cup share some luck

C                                         G

go ahead and laugh cause it don't cost much

G     D                              C  G

No, no, it don’t cost much

(repeat)

Chorus

           G               D                        C                      G

I stick loneliness, your lips and the two coins of your eyes 

              G       D    C  G

into my pockets

(repeat)

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Intro: / A - - - / D – Asus2 - / E – Esus4 - / D - - - / (x2)

A                    D     Asus2

    I put on my overcoat and

E                 Esus4         D

walked into winter - my teeth chattered rhythms

A                                          D             Asus2

   And they were grouped in twos or threes, like a

E                   Esus4         D

Morse code message was sent from me to

A                                     D                  Asus2

Me.  And cars on slippery slopes were stuck: people

E                                Esus4      D

pushing through their mittens as I was beginning

A                              D               Asus2

   to feel it soaking through my shoes, getting

E                Esus4   D (x2 measures)

colder with every step i took to your apartment, dear.

Riff 1

A                         D     Asus2

    And I was a kaleidoscope: the

   E              Esus4      D

snow on my lenses distorting the image

A                            D       Asus2

    of what was only one of you and I

E                 Esus4        D (x2 measures)

didn't know which one to address as all your lips moved

(w/Riff 1)

and this is when I forget breathe

and all the things I scripted, they sound unfounded.

And the look that you're giving me,

That tells me exactly what you are thinking:

D7/6

"This ain't working anymore."

Repeat Intro

D5

They got their mothers worked into a panic

B5

sledding down hills into oncoming traffic

        D5

the parents layered clothes until the children couldn't move and then

B5

left them outside ‘til their noses were blue and

F#5   Dm/maj7

I got left there, too.

/ A - - - / D – Asus2 - / E – Esus4 - / D - - - /

A                    D     Asus2

    I put on my overcoat and

E                 Esus4         D

walked into winter - my teeth chattered rhythms

A                                          D               Asus2

   And they were grouped in twos or threes, like a

E                   Esus4         D5 (x4 measures)

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Chord Guide

      3    4

G:    3x0003

        3   14

Gsus4:  3x0013

         132

D:    xx0232

       32 1

C:    x32010

       12

Em:   022000

Intro:  / G - - / Gsus4 - - / x4

D                 G                C (2)

Look to the clock on the wall

C                    G           D (2)

Hands hardly moving at all

    D                     G          C (2)

I can't stand the state I'm in

  C                  G                  D              Em

Sometimes it feels like the wall's closing in

Chorus 1:

C    G        D            Em           C         G              D              Em

Oh Lord what can I say       I'm so sad since you went away

  C      G      D              Em       C         G              D                       Em

Time, time, tickin on me      Alone is the last place I wanted to be

C         D           Repeat Intro

Lord what can I say

  D                       G             C (2)

Try and burn my troubles away

   C             G                   D (2)

Drown my sorrows same way

      D                      G                C (2)

It seems no matter how hard I try

      C                      G                      D          Em

It feels like there's something just missing inside

Chorus 2:

C    G        D            Em           C         G              D              Em

Oh Lord what can I say       I'm so sad since you went away

  C      G      D              Em       C         G              D                      Em

Time, time, tickin on me      Alone is the last place I wanted to be

C         D           Em (2)                   C         D            Repeat Intro

Lord what can I say            Oh, Lord, what can I say

  D             G                 C (2)

How many rules can I break

  C             G              D (2)

How many lies can I make

  D              G                 C (2)

How many roads must I turn

      C              G                      D                Em

To find me a place where the bridge hasn't burned

Chorus 2, skip last line

Chorus 2

Hold last G of Intro

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

0                                5

I don't want to wonder if this is a blunder

0                                                    5

I don't want to worry whether we're goin’ to stay together till we die

0                                    5

I don't want to jump in unless this music's thumping

0                                     5

All the dishes rattle in the cupboards when the elephants arrive

Chorus:

0                               5

 I want to love you madly

0                             5

 I want to love you now

0                              5

 I want to love you madly

0                                  5 (hold and let ring)                 

 I want to love you, love you, love you madly

Repeat Intro

0                               5

I don't want to fake it, I just want to make it

0                                                       5

The ornaments look pretty but they're pulling down the branches of the tree

0                                         5

I don't want to think about it, I don't want to talk about it

0                                              5

When I kiss your lips, I want to sink down to the bottom of the sea

Chorus

0 (hold and let ring)             5 (hold and let ring)

I don't want to hold back, I don't want to slip down

0                                                5

I don't want to think back to the one thing that I know I should have done

0                                             5

I don't want to doubt you, know everything about you

0                                         5 (hold)

I don't want to sit across the table from you wishing I could run

Chorus

End on 0

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.

Intro (x2):

E----------------------|----------------------|

B--3---3------3---3----|--1---1------0---0----|

G.-4---4------4---4----|--0---0------0---0----|

D.-5----------4--------|--2----------0--------|

A----------------------|----------------------|

E----------------------|----------------------|

w/intro riff x2

I've been awake for a while now

you've got me feelin’ like a child now

cause every time I see your bubbly face

I get the tinglies in a silly place

Chorus:

                       G

It starts in my toes

                   Gmaj7

and I crinkle my nose

                     C                    G

where ever it goes I always know

                              G

that you make me smile

                            Gmaj7

please stay for a while now

                      C

just take your time

                        G

where ever you go

G                                       Gmaj7

   The rain is fallin’ on my window pane

C                                   G

    but we are hidin’ in a safer place

G                                      Gmaj7

  under the covers stayin’ safe and warm

C                                   G

   you give me feelings that I adore

Chorus

Bridge:

Bm (2)                          C (2)

   But what am I gonna say

D (2)                                         Am                        

when you make me feel this way

G/B     C (hold 2)

I just.......mmmmmm

Chorus

Instrumental Verse w/scat singing

G                                       Gmaj7

I’ve been asleep for a while now

C                                   G

You tucked me in just like a child now

G                                       Gmaj7

Cause every time you hold me in your arms

C                                   G

I'm comfortable enough to feel your warmth

Chorus 2:

                       G

It starts in my soul

                          Gmaj7

And I lose all control

                              C                   

When you kiss my nose

                   G

The feeling shows

                                  G

‘Cause you make me smile

                                Gmaj7

Baby just take your time now

                  C   G

Holding me ti-i-ight

        G            Gmaj7      C              G

Wherever, wherever, wherever you go

        G             Gmaj7      C             G

Wherever, wherever, wherever you go

G             Gmaj7         C               G

   Ooh wherever you go, I always know

G                                     Gmaj7                      C      G (hold)

   ‘Cause you make me smile, baby, just for a while

BENEFITS OF MUSIC TO PEOPLE

Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
Music programs are constantly in danger of being cut from shrinking school budgets even though they're proven to improve academics.
Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
Schools with music programs have an estimated 90.2% graduation rate and 93.9% attendance rate compared to schools without music education, which average 72.9% graduation and 84.9% attendance.
Regardless of socioeconomic status or school district, students (3rd graders) who participate in high-quality music programs score higher on reading and spelling tests.
A Stanford study shows that music engages areas of the brain which are involved with paying attention, making predictions and updating events in our memory.
Much like expert technical skills, mastery in arts and humanities is closely correlated to a greater understanding of language components.
Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.
Schools that have music programs have an attendance rate of 93.3% compared to 84.9% in schools without music programs.