You Don’t Want To Get You One Of Those | Mark Knopfler Songbook | Chords


This is so funny, because at the moment I take driving lessons, which explains my absence. But doing a car song while taking driving lessons is just a funny coincidence. I’m a big fan of Tommy Emmanuel for many years and who’s not? The first time I’ve seen him was in this headless video of him playing The Beatles medley. And I thought—wow! Pretty good for an amateur! Because that’s what you think when you see a headless guitar player, right? There are two type of guitar players—the ones you want to throw your guitar out of the window after hearing them and the ones who inspire you to play all night and day. Tommy definitely inspires. The tuning he plays this song live is usually the whole-step down tuning, on the recording with Mark it was the half-step down tuning, so I thought I might as well show it in half-step down tuning for teaching purposes so you can play it along with the record. But anyway, the song, given its clear Honky-Tonk piano, Randy Newman kind of a shuffle in it, suggest to lower the tuning. Also, it worth mentioning, that the song is a straight up jazz blues and of course Tommy never plays it the same twice. Not only the solos are always different, but often the chords, too. So… The very first chord of the verse is full C with Tommy’s signature left hand grip on two strings with one finger at once. Played with Mark’s signature honky-tonk piano style in the right hand. They surely got it right from the very first chord. Tommy’s hands are enormous, gigantic, my hands are small, or at least average I’d say. However I’m still able to pull off this trick, because just like the thumb-over-the-top thing it’s just a matter of long hours of practice. Get to work! Next goes G7#5, the chord from Baloney Again and Love Over Gold. This is sharp 5. To C9. Then the same thing but with an open E. Or G bass. To F6, then a typical jazz walking. This is what you can do in any key when there’s no chord changes for the whole bar. Like in the intro for Money For Nothing sometimes Mark played like this… To F#dim, to plain C, followed by B7, Bb7, A7. The first turnaround is D/A, D/Ab, G. The verse repeats, and the second turnaround is F6 to G13 and to C. Then two 9 chords leads to the chorus, or second part or whatever you want to call it. Or it can be plain 7 chords, different bass, etc. It starts with F6 or F for one and a half bars, going to C6 through an F#dim. The chord from the verse. Then it goes to Am through Bdim. Or even through the mighty Hendrix chord — E7#9. This is a typical move with chromatic line. Two open strings helps to enrich the sound and to get to the destination—G13. G7#5. The complete verse again. Solo is an improvised solo, or a pre-written solo, it all depends on your style. You have to compose something over the changes. The song’s ending is another verse. This time the turnaround is C to A7. To D9, G13 and the lick. The lick is the typical blues ending in C. Two notes followed by a hammer-on and a pull-off. Any blues ending will do. Something like that.

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