🍒 10 favorite guitar solos by McCartney - macca-news

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Paul McCartney Has Revealed His Favorite Guitar Chord. Words by Riley Fitzgerald Graphic by Linda McCartney. Replying to a fan question via his official​.


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Paul McCartney is a great acoustic guitarist in the same way So I'd figure it out and then it would become a favourite little thing of mine.


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Paul McCartney is a great acoustic guitarist in the same way So I'd figure it out and then it would become a favourite little thing of mine.


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Check out Paul McCartney's gear and equipment including the Fender Jazz Bass​, Epiphone Casino, and Taylor Richie Sambora Signature Model Acoustic Guitar.


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Paul McCartney's Hofner 'Violin' Bass. The Beatles' bassist The late guitar great called his favorite instrument Number One. Also known as.


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Paul McCartney Has Revealed His Favorite Guitar Chord. Words by Riley Fitzgerald Graphic by Linda McCartney. Replying to a fan question via his official​.


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Paul McCartney is a great acoustic guitarist in the same way So I'd figure it out and then it would become a favourite little thing of mine.


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Paul McCartney is a great acoustic guitarist in the same way So I'd figure it out and then it would become a favourite little thing of mine.


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Paul McCartney Has Revealed His Favorite Guitar Chord. Words by Riley Fitzgerald Graphic by Linda McCartney. Replying to a fan question via his official​.


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Paul McCartney's Hofner 'Violin' Bass. The Beatles' bassist The late guitar great called his favorite instrument Number One. Also known as.


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paul mccartney favorite guitar

And I still go back to a lot of that stuff because it gives me variety in my writing, gives me places to go when I'm looking for a surprise. It was many years before I ever got a Fender bass, even though I thought they sounded terrific. I remember playing that to him and June Carter-Cash , in fact.{/INSERTKEYS}{/PARAGRAPH} You have in the past asserted that the melody to Yesterday came to you in a dream. It's usually the case that brilliant guitarists who denigrate some aspect of their playing, or claim to be disinterested in their gear, are as believable as football strikers who claim to not worry whether they're scoring as long as the team wins. And I thought, You'd better show me that, guys, before we go any further! I sort of borrowed its approach in Blackbird, those kinds of intervals, and just made it up as it led on. And it does. On the early run of the guitars Gibson are getting it right down to the very last detail, reproducing every nick and ding you ever put on it…. On things like Yesterday and Blackbird I just hit the bass string and sort of flick the high strings. It's probably a bit of the same in my vocal thing, you know? All the guys who worked in that store when we were kids were jazz guys - they had to play jazz well if they wanted to hold down their jobs. Johnny could have done that one right! Were you ever a big country blues fan? Did the fingerpicked guitar part also appear in the dream? He really ground it into me to never be in debt, because while we weren't on the poverty line, there wasn't much money to go around. But seeing it up on the screen like that gave me a certain perspective about it. I remember a lot of us tried to learn Trambone, an instrumental that's on an album of his called Down Home. He's a Beatle - couldn't he afford a Gibson J, or a Martin? Later we learned other chords from him. I know that if I were to insert my present-day self into that scene, I would say something like, He doesn't really have much of a fingerpicking technique, does he? How did you "dream" that one up? So I'd figure it out and then it would become a favourite little thing of mine. So you probably have a better answer to the question than I do. We would often play a song through on acoustic, and sometimes we'd develop it from there on electric - or sometimes we just kind of liked it where it was, and it stayed acoustic. {PARAGRAPH}{INSERTKEYS}One month later, on 12 September, , 73 million people watch the performance on TV - among them some of my American family: brother James, who is 12, cousin Goldie, just one year younger, and me, about to turn seven. We immediately learned that, and for a while it was the only jazz chord we knew. He used to say, Never get under an obligation to anyone. I was a bit of a magpie, really, picking up various styles and gradually assimilating them. It was just a tune, and when I woke I fell out of bed and went over to a piano nearby. It's my own goofball version of fingerpicking. Do you recall taking any specific approach to recording acoustic guitar with The Beatles? As for his overriding concern about the quality of his songs, his records speak for themselves. You know, that F7 9 is a beautiful chord, and it was outside our frame of reference because nothing that we listened to contained that chord. It'd be very exciting - I still remember the palpable thrill of finding a chord that we hadn't used before. You don't appear to regard your fingerpicking skills all that highly, yet you somehow came up with Blackbird, which is a fingerstyle masterpiece. I say only: "It's such a pretty song. And the next, Oh wow, Scotty Moore! On those early solo albums I didn't have the guys I developed things up with - John and George - and so things often remained acoustic. I remember that I actually pretended at one of these parties that I was French, you know, wore a black collar-necked shirt, and sort of enigmatically played this little fingerpicked instrumental that went like this: [sings] Ding ding ding, and then that doon din, which was Gretty's F chord with the pinky barring the two strings at the fourth fret. Gibson is issuing a replica of the Epiphone Texan acoustic guitar you used to record Yesterday. And he answered, It's just basically an F, but you barre the top two strings at the fourth fret with your little finger. The interesting thing is that while Paul McCartney himself, now 62 years old and a long way from Yesterday, would relate more to the response of my juvenile self and pre-teen brother and cousin, he would to some extent agree with the hypercritical and elitist observations his performance would probably evoke today. In fact I did say to Pat Foley, who ran the project for Gibson, It's all very well getting the cracks and the crannies right, but I want it to be a guitar that sounds good. Even as he speaks in considerable detail of some of the inventive and memorable acoustic guitar parts he played as a Beatle and in his solo career, he says things like, "You know, I'm not really technical," and, "I never learned the proper way of picking. I think I saw the Epiphone the same way: they were never really top-of-the-line, but my dad had ingrained in me a certain way of thinking, and I don't think I've ever lost that. Michelle, another Beatles classic, features some fairly sophisticated chords. Paul McCartney is a great acoustic guitarist in the same way Creedence Clearwater Revival's John Fogerty is a great electric player - while neither is a master technician, both are able to create melodic parts that take up permanent residence in the minds of their listeners. But now it is time to let Paul McCartney speak for himself…. I don't ordinarily think of my instruments as historic; they're just my guitars. But I never got stuck in one groove. The first two albums you released as a solo artist, McCartney [] and Ram [] were jam-packed with great acoustic guitar tunes - Junk, Teddy Boy and Heart Of The Country - and you also released Another Day as a single back then. I said, No, I can't do that! But I believe it was the charity component - the money that's going to Adopt-A-Minefield - that made me think it was a good thing. The way you plucked the bass strings with your thumb and then sort of strummed the treble strings with your index finger reminds me a little of the way some old-time country guitarists played…. We should stick some words on that. It sent a bit of a shudder through my dad - I could see the look of horror on his face, his sense of, Whoo, that's debt! He did it for a cause. Mother Nature's Son begins with a descending riff played over a partial chord on the treble strings. You can believe McCartney, however, a man who indeed does not play the "right" way, and who hasn't filled his basement with rare and delectable guitars - or basses, for that matter. It's quite similar to the guitar intro to Michelle, and variations of that same pattern can also be found in Junk, from your first solo album, and other songs. Or, He's playing an Epiphone acoustic. Let's return to The White Album, which features more of your acoustic playing than any other Beatles record. You know, we have a performing arts school up in Liverpool LIPA , and in the prospectus of the music department I saw this item: we'll show you the special tuning for Blackbird. What made you decide to give them the go-ahead? But even there, McCartney's interest in the project was triggered by the fact that a large percentage of the profits garnered by sales of the guitar will benefit Adopt-A-Minefield, a charity he and his [then] wife Heather have long championed. Can you recall anything besides Yesterday that you wrote or recorded with the Texan? His hands are all over the place. You grew up playing fifties rock 'n' roll - Elvis, Gene Vincent, Eddie Cochran - so when and where did you learn something like, say, the second chord in Michelle: the F7 9? Oh, I see what they're doing, just this one note in the chord is descending. Gretty showed us jazz chords, which is exactly what we called 'em. Actually, we just heard it a few times and bastardised it. Things like Stardust - I really liked Hoagy Carmichael. One day it would be, Oh wow, Chuck Berry! Also, I think I just wanted to play it in G but that key was just a little too high to sing in. My dad was very musical - he was a professional musician and used to play the piano at home - so I grew up musical, and I had a naturally musical ear. Then, while going back and forth on the guitar's preparation with Gibson, I realised that this whole thing is a pretty cool honour. Was that because it made it easier to play the bass runs? But the exciting thing for me is that they play well, these new guitars. John and I wanted to learn the formal style of fingerpicking, but I never got around to it. While he has never been a 'gearhead', McCartney was intimately involved in the creation by Gibson of a new signature edition replica of his Epiphone Texan acoustic guitar, the instrument he immortalised when he used it to perform Yesterday. But I also would have admitted that McCartney's playing, for all its inelegance, was spot-perfect and beautifully conceived, with flowing chord changes effortlessly anticipated by bass runs. You recorded Yesterday in the key of F, but lowered your strings a whole tone so you could play it in G. And like Fogerty's best solos, McCartney's accompaniments, from the harmonically sophisticated chords of Michelle to the celestial counterpoint lines of Blackbird to the wistful-sounding inversions of Junk, were clearly devised for the sake of the song, to be integral parts of the whole. I'm really the least technical guy ever, which can sometimes be a bit embarrassing. I recently saw footage from the Sullivan performance and it struck me how unusual your fingerpicking technique was. But I did do it on the last couple of tours and it works like a dream. It can empower you to write five songs, or help make the one you're writing better. It was the only time we ever got vaguely classical. Let's talk about some of your greatest acoustic guitar-based Beatles songs - how they came to be written and how you play them. Was there any particular reason that you went in such an unplugged direction? Of course, I also liked how it sounded [laughs]. The other possibility is that F is a better key for the string quartet we used in the arrangement. The main drawback to my approach is that because of the way I flick the chords and notes with my finger, it wears my nail down. And I inserted the kind of things I heard back then in my songs to sort of refresh things. This is clear because McCartney met with Guitar World Acoustic recently and, for the first time, offered a detailed assessment of his acoustic guitar playing - perhaps the one aspect of his, let's face it, miraculous talent that is underrated. If I listened to a bunch of songs I might be able to say, Yeah, that was that guitar… but really, I'm very sort of nonchalant about what I play. He did, and he used it on Julia and some other things. I said to my guitar tech, John Hamell, Wow, you know, it really is a pretty historic instrument.