Bodhran 1 Bodhran 2 2 Row Melodeon Loud Whistle Soft Whistle Celtic Fiddle Drone Dn Drone Up Em11 Up EM11 Dn Gnon3Add9 Up Gnon3Add9 Dn B9non3 u B9non3 d F9 u F9 d Cadd9 u Cadd9 d Anon3 d A7non3 u A7non3 d C5/D u C5/D d Choir Horn Section Orchestra Brass Tambu1 Orch Bass Analogpad Moody Strings Gong Bass Sun Pad Bass Acoustic Guitar VPERC12.WAV Timpani If my style gets a bit more like Bill Whelan's, I might as well change my name. __ __,' ,~ . . - the Em - They were leaving for a b povetry and despair would was little joy in the hear crowded decks to watch the beneath the horizon. It was a refreshing conce wits and strenght once aga and hope. Yet the home isl a mother reluctantly sendi Not a single one of the i until after the morning mi Now that I have prepared feadanaigh epic, I can fin trad. Note that it's a set; bef of coherent structure, con separate tunes, not a sing Are you up to some semi-f Since most contemporary m chording systems derivated theory are absurd, especia ban is nothing but a key t to *sing*. Who is going to In my opinion, the moves parallel octaves between l third movements at once. Classical general bass an lead melody; they cover on voice is equal, and the me together. Using classical voicing a creates an overflow of thi in nature, though beautifu harmony spectrum, muffling You should never listen t general picture they form Since I tend to like homo of conventional chords in different, hence this meth pages for more thoughts on If you are into truly pol has ever tracked such a pi sticking with general bass form of this technique, so The general point of this follow a rule you don't fe understand. My snorts to e without explaining whys al - Warder warder@dlc.fi http://www.dlc.fi/~warder Greets! Acumen Awesome Baj Kaamos Mazedude Pitfall POW Spindizzy Tourach Vortex Everyone I forgot Trackers worldwide
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