![]() You can plainly hear the open string (playing the A note, this is the open “G” string when you are capped at the second fret) then hear the sound CLOSE DOWN as he hits the the G# (which will be on the D string when you are capoed). Listen CLOSELY and you will hear on the record that the notes A-G# are on two different strings, not on the same string, as they would be if you were playing this riff the way most people do (including George live, who doesn’t mess with a capo, but then he doesn’t mess with a Rick 12 for “Ticket to Ride” live either). Capo your guitar at the 2nd fret, then play a D7 shape with the “E” string open, and you will hear that first chord played by the Strat just after the intro.Ģ Throughout the song, listen CLOSELY to the riff itself (B, A, G#, E, B). Regarding the capo….you can demonstrate this for yourself.ġ The first chord of the song is a D9. But the verses are either two Georges or George and John together….there are plainly two guitars in unison on the verses. It is often reported that George did the verses and John and George did the lead section. And yes it two guitars during the verses, not just one (it may be indeed one player double tracked, but it is two guitars, and at least one of the parts if not both are capped). Sorry for taking all this space, but just want to share some of the magic that the Beatles will always have, all over the world.įirst off, just as there is a capo on the acoustic rhythm guitar of John’s there is also a capo on at least ONE of the two Strats which are playing during the verses. I suppose I could have stayed there singing Beatle songs all day, but having some manners, it was just that one song. It was just wonderful, and even the bridge was right there, with even the last ‘ping’ on guitar. I just happened to say, How about Nowhere Man? And just like that, without even checking the key or sound or anything (it was one of those moments) we began with me singing lead! ‘He’s a real nowhere man….’ and then the instruments kicked in and the guys harmonized, and we were all at the key it of course must have been the original key of the song. The guys were very gracious and asked what should we do. I wasn’t even thinking but suddenly I was in front of the one mic. Well, the artist’s wife (who we were calling auntie by then) asked me, why don’t you play something with them? (We were discussing music, and ‘Juliet’ said made encouraging sounds, Yes, he can sing nice…. They had great equipment and I was amazed at their sound, singing and playing. In it were the couple’s son and his friends (they were around 19 or so, so that made them seem older than me), and they were a very pro sounding band, and they were doing Beatle songs! It was like a scene from a Beatle video, with large white sculptures all around and airy light. Anyway, at the back was a large white stucco building, two story ceilings. It was the house of a famous artist/sculptor (I didn’t see him), friends of my hosts… his wife was very nice and said he also liked to play classical guitar at night, so I could see that in the sultry night. One bright day some older friends (who could drive) and a girl who I had a ‘Romeo and Juliet’ thing for those months that seemed like years and I drove to a rather large house. It has a special meaning for me (if it’s OK to tell a personal story)… I was 14 and visiting the Philippines (from living in California) for my school summer vacation. when we hear Beatle songs we say ‘that’s one of my favorites’ … and this one is no exception. Listen to the recordings from the 1966 tour (Budokan, Candlestick, etc.) and note that George is unable to produce this effect on stage as you can always hear the attack on the last harmonic note. It is not possible, using the techniques the Beatles were using in 1965, to play the solo and produce the described harmonic sound in a single track unless two guitarists are playing in unison. The attack is not audible, so it was played by adjusting the volume knob on the guitar (or, less likely, using a volume pedal) from silent to maximum volume while the note rang. We hear a slide from the B (7th fret of the E string) to the open E followed by the swell of a decay from a harmonic. The second piece of evidence comes from the end of the guitar solo. This is what they did on the first chord of “A Hard Day’s Night,” but in that case the difference was definitely intentional. ![]() The first electric guitar chord, for example, has more notes than there are strings, supporting the notion that they either deliberately or accidentally (and I believe the latter) played slightly different chords. There are at least two pieces of auditory evidence suggesting they did in fact both play lead. Lewisohn would not have detected John and George playing in unison on a single track when he listened to the tapes twenty years after the fact.
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